Puc||sneo cy: /sscc|O|cn cf /| ||sc||Ons 70 Ccwc|css S|ee |cnocn EC1M EJ dK t: 020 740 3211 f: 020 740 3277 e: Oon|n@OOn.c|g.u| Eo|c|s: Scpn|e Bcscc| Ono |Oene SnO| Ccve| |||us|O|cn Ono oes|gn: M|ng-|u| Cnen e: s||en.ous@c|ne|ne.ccn !ex oes|gn Ono |Oycu: JOnne K|ng e: ,Onne||ng@sfep.ne P||neo cy: !ne P||n |cuse, B||gncn. t: 01273 3257 P||ce: 5.00 p|us 1.00 p&p} //| suoen nence|s: 2.50 p|us 1.00 p&p} Bu|| c|oe|: 45 fc| 10 ccp|es |nc|uoes p&p} /vO||Oc|e f|cn ne //| /on|n|s|Oc| O Ooo|ess g|ven Occve}. |c| |nfc|nO|cn Occu Oove||s|ng |n fuu|e eo||cns ccnOc: JOnne K|ng e: eo-cu||e|n@OOn.c|g.u| Contents Iorevord 8OFhIF 8O8IOCk Introduction 8OFhIF 8O8IOCk AND GkAFMF 8MAkI Archives 80F 8kFAkFII Art Iilrarianshi FkICA FODFN-IFNAhAN Art Iicensing kO8FkI GkO8F AND JOhN kO8IN8ON Art Tourism JANF ChI8hOIM Arts Administration GkAFMF 8MAkI AND CIAIkF WAI8h Auction Trade k0FFkI IOOFY AND 8AkAh h0NI BooI Editing FIIFFN CADMAN BooI PulIishing FhIIIF COOFFk BooIseIIing 8OFhIF 8O8IOCk Conservation: An Overviev AII8ON kIChMOND Conservation: Ceramics and GIass J0ANIIA NAAkkO Conservation: EaseI Paintings DAID CkOM8IF Conservation: Paer MIkF WhFFIFk Conservation: TextiIes FkANCF8 IFNNAkD AND MAkY 8kOOk8 Curating: Iurniture FIFANOk IOIIFkFF Curating: Historic BuiIdings MAY kFDFFkN Education Ior Young PeoIe F8IhFk 8AYFk8 Exhilition Organizing NIGFI IIFWFIIYN IreeIance VorI CIAkF FOkD-WIIIF eveIIery hFIFN DIMMICk ournaIism JOhN k088FII IAYIOk MarIeting kAIF kNOWIF8 Museums and GaIIeries AMY 8AkkFk Photograhy MAXINF ADCOCk AND kIChAkD DFNYFk Picture Research FANDOkA MAIhFk-IFF8 The Practising Artist JANF AIIFN SIide Iilrarianshi JFNNY GODFkFY AND ICkY 8kOWN Teaching: AduIt Education MA0kFFN FAkk Teaching: Art & Design CoIIeges IO8hIO WAIANA8F Teaching: Oen University FkONICA DAIF8 Teaching: SchooIs CAkOI JACO8I Teaching: Universities COIIN Ck0I8F Teaching: VorIers` EducationaI Association FkONICA DAIF8 + 5
II I5 I9 22 25 29 33 3 +I + 5J 5+ 5 6J 63 6 J 2 +
8J 85 89 93 9 99 IJ2 IJ5 IJ9 II2 II5 II 8OFhIF 8O8IOCk CnO||, //| Suoen Mence|s' |cup, Cc-eo|c|, Cc/ee/: |o A/| |:|c/, L ast year, vhen a reviseJ anJ upJateJ version ol the I995 eJition ol Cer::rs io Art Eistorv appeareJ, ve vere JelighteJ vith the response anJ enthusiasm vith vhich it vas receiveJ. DemanJ so exceeJeJ our expectations that it became necessary to print a thirJ eJition ol this popular volume. Major changes to this eJition incluJe nev chapters on the artist practitioner, bookselling, jevellery, paper conservation anJ sliJe librarianship. In other respects the book remains unchangeJ lrom last year's lormat each chapter Jescribes a career vith its positive anJ negative points, the qualilications requireJ to vork in each lielJ, the availability ol voluntary vork placements anJ vhere jobs are aJvertiseJ. As on previous occasions, the book has been proJuceJ by representatives ol the stuJent members ol the Association ol Art Historians (AAH). The motive behinJ this upJateJ eJition remains unchangeJ. it alerts art historians prospective anJ present to the Jiversity ol employment prospects available to them. Naturally, a book ol this moJest site cannot claim to be a comprehensive guiJe. Nevertheless, the broaJ range ol potential career opportunities open to art historians is encouraging anJ, in the absence ol a comparable publication, the book lills a serious gap in UK careers literature. The StuJent Members' Group trusts that not only the content but also the enthusiasm ol the knovleJgeable contributors vill inspire you as you embark on anJ Jevelop a career in art history. It has been a pleasure to vork on this publication lor a seconJ year vith Graeme Smart, vhose JeJication to the project has translormeJ this volume lrom a moJest booklet into the valuable hanJbook it has nov become. In aJJition to the contributors the eJitors vish to thank Claire Davies (AAH Senior AJministrator) lor her practical assistance, MingHui Chen lor the cover Jesign anJ ]annet King lor her valuable aJvice Juring the proJuction ol this book. 4 8OFhIF 8O8IOCk AND GkAFMF 8MAkI Eo|c|s, Cc/ee/: |o A/| |:|c/,
A lthough art history as an acaJemic Jiscipline is only just over a century olJ, its practice Jates back to the lilteenth century, vhile its subject matter is as olJ as human civilitation itsell. Hovever, ol ongoing concern to art historians is vhether or not their Jiscipline is in crisis. This Jebate is topical partly because several Jegree courses in the Jiscipline, (mainly) in the nev universities, have been closeJ or are unJer threat ol closure anJ because, more generally, application numbers to art history Jegrees are lailing to rise. Nevertheless, this book acknovleJges, inJeeJ celebrates, art history's methoJological anJ practical Jiversity anJ vievs it as a Jiscipline that equips its stuJents vith a range ol commercially marketable skills. StuJents anJ voulJbe stuJents ol art history shoulJ leel encourageJ by the broaJ range ol careers JescribeJ in the lolloving pages, vhich Jemonstrates the manilolJ applications ol an art history Jegree. As many ol the contributions testily, graJuates' prospects can be enhanceJ by their jobseeking approach anJ the strategies aJopteJ as they embark upon a career. At the outset, unJertaking voluntary vork can establish valuable contacts, proviJing relerees anJ muchneeJeJ vork experience to go on a CV. Only in a lev exceptional circumstances Joes one make a Jattling Jebut in the career ol one's choice, a lirst job is olten a relatively routine post but it can oller the opportunity to be insiJe the organitation in vhich one vishes to vork. Taking relevant courses can improve employability anJ promotion prospects. It is vorth researching vhether there are specialist courses available to enhance existing interests anJ skills anJ vhether it is vorth investing the time in taking more general courses, lor example those in IT anJ vorJ processing, so as to improve overall marketability. Netvorking anJ becoming knovn vithin the lielJ can begin Juring an art historian's stuJent Jays. AttenJing conlerences, vriting book revievs (lor 1|: Art Foor, lor example), obtaining vork placements anJ joining groups 5 such as the AAH's StuJent Members' Group (SMG) vill all increase a stuJent's employability. The SMG can assist in a number ol vays. The Group's VoluntaryVork IunJ ollers linancial assistance (up to J2J per Jay, a maximum per stuJent ol J5JJ) to stuJents vho secure vorkexperience placements in a museum, gallery, heritage site or other visualartrelateJ environment in the UK. The SMG holJs three conlerences a year anJ proviJes an excellent lorum lor stuJents to present papers in a stimulating anJ supportive environment. Ior more inlormation about SMG activities please click on the stuJent link on the AAH vebsite at vvv.aah.org.uk The book contains inlormation about numerous resources. Some are mentioneJ by more than one contributor, examples incluJe, lor job aJvertisements, 1|: Caercieo (jobs.guarJian.co.uk), anJ, lor those interesteJ in public lecturing, the National Association ol Decorative & Iine Arts Societies (vvv.naJlas.org.uk). Hovever, there are a lev that, because they Jo not 'belong' to a particular career, are not mentioneJ. Ior those interesteJ in an American perspective on careers in art history, the University ol Notre Dame vebsite incluJes a page vhich covers similar territory to that ol this book (vvv.nJ.eJu/-crosenbe/jobs.html). Details about History ol Art postgraJuate courses can be lounJ at vvv.prospects.ac.uk. Another excellent online source ol lellovships/grants/jobs/conlerences is the HArtHist list (vvv.arthist.net). This GermanbaseJ, but multilingual, site lists an impressive array ol international opportunities. It has alreaJy been observeJ in the IorevorJ that this book lills an important gap in British careers literature. Its coverage is viJe, anJ its content both interesting anJ practical. Any impression that there is a Jearth ol employment opportunities avaiting art history graJuates can be countereJ by the number ol options illustrateJ in this book. AnJ, ol course, ve voulJ velcome any suggestions, be they amenJments to the existing content or recommenJations lor aJJitional entries to be incluJeJ in luture eJitions ol the book. Your comments shoulJ be aJJresseJ to ch stuJentsaah.org.uk . Ve hope you are as inspireJ by the opportunities available to art history graJuates as ve are anJ voulJ like to take this chance to vish you every success vith your job search! CARFFRS IN " HISTORY
V hen applying by telephone lor a proJuct or service that requires the Jeclaration ol my prolession, I have become useJ to the lolloving somevhat conlusing exchange. 'I'm an archivist.' 'An alchemist`' 'No, an archivist.' 'Vhat's that`' Despite the lact that archives generally have a higher public prolile than ten or 2J years ago, surprisingly lev people are avare ol the prolession ol archivist. It Joes not seem a common path lor art history stuJents, Jespite the lact that it proviJes unique opportunities lor access to original artvork anJ Jocumentation, vhere art historical subject knovleJge can only enhance one's vork. Perhaps the misperception ol archives as Justy anJ JevoiJ ol human lile is too pervasive, yet in truth, an archive teems vith lile in the tales tolJ by its contents. An archivist`s roIe In the course ol their Jaily vork anJ lile, artists create archives, the rav material ol art historical stuJy, anJ archivists lacilitate this stuJy by managing anJ Jocumenting archives to prolessional stanJarJs. Letters, Jiaries, notebooks, photographs, sketchbooks, preparatory Jravings, prints, sales recorJs anJ other Jocumentation constitute a unique source ol inlormation, anJ are about as close as you can get to the artist vithout having knovn them. Ol course, archives cannot alvays be taken at lace value, they are elements ol inlormation vhich builJ up a boJy ol historical eviJence. InJeeJ, art archives are not only ol interest to art historians. like any historical recorJs, they are increasingly useJ by other Jisciplines. As one
80F 8kFAkFII /|cn|v|s, !Oe /|cn|ve 7 ol an archivist's key skills is to be as objective a meJiator as possible betveen the source anJ the user, specialist subject knovleJge can be an asset. In perlorming that meJiator's role, an archivist vill be in Jaily contact vith primary source material, vhich incluJes many visual materials such as Jravings, sketchbooks anJ other preparatory materials, as vell as the more usual corresponJence anJ other textual recorJs. It is an interesting anJ varieJ job, involving the same principles as vork in other museum anJ gallery collections. archivists acquire, catalogue anJ care lor archives, anJ make them available to users. In larger archives, it is possible to specialite in one ol these areas, in a smaller institution, an archivist might be responsible lor all ol them. The process ol acquisition involves negotiation vith Jonors or venJors vho might be artists, other art vorlJ ligures, or their lamilies aJministering the process ol acquisition, anJ accessioning incoming material. As a cataloguer, an archivist vill proJuce the linJing aiJ that allovs users to pinpoint the material they neeJ lor their research. The archivist is thus able to control the item's security. This involves researching the subject, arranging the material, lolloving as lar as possible the vay it has alreaJy been organiteJ, anJ Jocumenting the component items at an appropriate level ol Jetail anJ accorJing to prolessional stanJarJs. Collections management incluJes ensuring that material is appropriately packageJ anJ storeJ, arranging lor conservation vork to be carrieJ out vhen necessary, anJ tracking movements ol material. Last, but lar lrom least, the material is maJe available, primarily through searchroom lacilities anJ ansvering enquiries, but also through Jisplays, publications, eJucation activities vhich bring collections to viJer auJiences anJ, increasingly, the Internet. ol rosects Like other organitations, artrelateJ businesses anJ institutions are increasingly employing prolessionals to manage their valuable inlormation resources, not only their historical archives but also the recorJs ol current activities, an area vhich is knovn as recorJs management. UnJer the Public RecorJs Act, public boJies are responsible lor the care anJ management ol their current anJ historic recorJs. In national museums, these incluJe acquisition anJ exhibition recorJs, as vell as strategic Jocuments lrom all parts ol the institution. This vork can bring an archivist into contact vith the real nutsanJbolts ol hov a museum or gallery vorks, at a level vhere s/he can have a real inlluence on hov the organitation manages its inlormation resources. CARFFRS IN " HISTORY 8 The prolessional lielJ ol archives covers a much viJer range ol subjects than just art, the number ol specialist art archives is small. Hovever, many archives vhich Jo not specialite in art, such as university collections, contain quantities ol visual materials or artists papers. QuaIiIications Although there are unqualilieJ roles in archives (usually calleJ 'Archive Assistant'), to carry out the lull range ol Juties outlineJ a postgraJuate qualilication (Masters or Diploma) in archive stuJies is requireJ. There are only a small number ol universities currently ollering these qualilications (s:: Iurther inIormation), although a groving number ol other universities oller recorJs management courses. Competition lor places is high, the aJvantage ol this is that the market is not saturateJ, anJ the employment rate across the prolession is excellent, although this Joes JepenJ to a Jegree on llexibility in the kinJ ol collection an archivist is prepareJ to vork, at least initially. In orJer to gain a course place, signilicant experience ol vork in an archive is usually a prerequisite. A small number ol institutions oller paiJ precourse placement roles, usually lasting a year (a list ol these is available lrom the Society ol Archivists), but many people vork on a voluntary basis anJ support themselves through other vork. The Society ol Archivists has a recommenJeJ minimum salary level lor qualilieJ archivists, vhich, though not universally aJhereJ to, or high on a commercial level, Joes mean that archive posts generally compare vell vith other museum salaries. )XUWKHULQIRUPDWLRQ Job odvert|sements Scc|ey cf /|cn|v|ss' APC Pec/u||meo| w: www.O|cn|ves.c|g.u|/cO|ee|oeve|cpnen/,ccvOcOnc|es.nn| Recc|os MOnOgenen Scc|ey w: www.|ns-gc.c|g.u|/,ccs Orgon|zot|ons Scc|ey cf /|cn|v|ss, P||c|yf|e|o |cuse, 20 COncn S, !Ouncn, Scne|se !/1 1Sw t: 01823 327030 e: scc|eycfO|cn|v|ss@O|cn|ves.c|g.u| w: www.O|cn|ves.c|g.u| Recc|os MOnOgenen Scc|ey, wccos|oe, Cc|eneOn Bccn, Speen, P||nces R|scc|cugn, Buc||ngnOnsn||e |P27 0SZ t: 0144 4885 e: |nfc@|ns-gc.c|g.u| w: www.|ns-gc.c|g.u| ARCHIVFS
FkICA FODFN-IFNAhAN !Oe ||c|O|y Ono /|cn|ve V orking in an art library is an excellent vay to use your art knovleJge, to remain current vith exhibitions anJ research, anJ to be surrounJeJ by interesting material. There are many sectors in vhich you can vork. In aJJition to universities anJ museums, public libraries olten have art sections. Large libraries are olten structureJ into Jillerent lunction groups. bibliographic services Jeal vith the acquisition anJ cataloguing ol material, user services are responsible lor public vork ol the library, such as relerence enquiries, anJ, increasingly, libraries are Jeveloping teaching or research support lunctions, as vell as project management. Many people train as librarians anJ linJ themselves vorking on Jigititation ol images or ol books. In smaller lacilities, you may vork as a solo librarian anJ be involveJ in all aspects ol service Jelivery anJ planning, sometimes incluJing Jesigning a nev library. Librarians olten vork on temporary or lixeJterm contracts, vhich proviJe gooJ vays to broaJen your experience. The temporary agencies are a gooJ source lor contracts (s:: Iurther inIormation). The art library vorlJ is small anJ specialiteJ. Hovever, there remain gooJ prospects lor longterm employment. There are opportunities lor specialitation in artists' books, rare books, auJiovisual material, bibliography compilation, archival material, prints anJ Jravings, photograph anJ/or sliJe collections, anJ computer systems. BuJgeting anJ general management also ligure prominently in the vork ol 11 most librarians. There are usually opportunities to be involveJ in creating Jisplays, as, in some libraries, there are posts ol a curatorial nature. Librarianship is largely a postgraJuate prolession requiring either a graJuate Jiploma or an MA in librarianship or inlormation management. Hovever, it is possible to vork in libraries vithout a lormal qualilication. The ChartereJ Institute ol Library anJ Inlormation Prolessionals (CILIP) (s:: Iurther inIormation) is the prolessional boJy anJ their vebsite has lists ol accreJiteJ postgraJuate courses. It also has inlormation on S/NVQs, HNC/Ds, anJ City & GuilJs qualilications lor library assistants. Most UK anJ IrelanJ postgraJuate courses require that an applicant has a year ol library or inlormation environment vork experience. This can be obtaineJ either as a library assistant or as a graJuate trainee. GraJuate traineeships, usually lixeJterm contracts lor a year, are specilically JesigneJ to give the trainee the opportunity to gain vork exposure to the variety ol lunctions in a library. The CILIP vebsite has Jetails ol such vacancies. They are aJvertiseJ tovarJ the enJ ol each year, anJ the closing Jate lor most applications is ]anuary or Iebruary, to start at the beginning ol the lolloving acaJemic year. Many libraries that Jo not specialite in art vill olten have an art subject librarian to aJvise on the purchase ol art stock anJ proviJe specialist user eJucation. They might also hanJle art enquiries. Fnquiries can be maJe in person, over the telephone, or through email or Internet enquiry lorms. In many libraries, subject librarians are becoming responsible lor more than one subject. So one might linJ onesell covering arts anJ humanities subjects, or perhaps art anJ business, etc. Fnquiries range lrom backgrounJ anJ biographical inlormation to vrite obituaries anJ proliles ol artists, to Jetails about a specilic vork or artist, to iJentilication ol an artist's signature, to pictures ol animals to proviJe inspiration lor a Jesign stuJent's briel. In other vorJs, an enquiry can be about almost anything. The Jetail requireJ varies, anJ Joing the research lor an enquiry can be lullilling. It is important lor a relerence librarian to be lamiliar vith the general relerence sources lor art anJ Jesign. It is also vital that they can exploit the Internet anJ other electronic resources, such as bibliographic Jatabases, to search lor journal articles anJ other sources in orJer to responJ to queries. ARLIS/UK & IrelanJ (Art Libraries Society) is the prolessional society lor art librarians in the UK (s:: Iurther inIormation). There are a number ol similar organitations in North America, Australasia, ScanJanavia, the CARFFRS IN " HISTORY 12 NetherlanJs, IlanJers, Germany anJ Irance. ARLIS/UK & IrelanJ has a StuJents & Trainees committee, among others. The committees run events anJ vorkshops on matters relating to the prolession anJ they scheJule visits to art libraries in the UK. The Society proJuces its ovn journal anJ members' nevsletter, as vell as a variety ol publications specilic to the prolession, such as guiJelines lor veeJing stock anJ on cataloguing archival material. ARLIS runs an annual conlerence in the summer, comprising three Jays ol talks, visits, anJ vorkshops on a Jillerent theme each year. There are also opportunities to netvork vith other prolessionals. Libraries are increasingly reliant on collaboration vith other organitations to get lunJing anJ run projects, netvorking is one ol the vays this is lacilitateJ. There is one lunJeJ bursary lor a stuJent to attenJ the vhole conlerence, Jetails can be lounJ on the Society's vebsite. StuJents interesteJ in a career in librarianship may also be interesteJ in the chapter on SliJe Librarianship (pp. 99). )XUWKHULQIRUPDWLRQ keoru|tment Ageno|es |N|nOcn pO| cf C|||P} :ee Orgon|zot|ons, ce|cw, fc| Ooo|ess}. e: |nfcnOcn@c|||p.c|g.u| w: www.c|||p.c|g.u|/,ccscO|ee|s/|nfcnOcn Sue |||| Rec|u|nen, Bc|cugn |cuse, 80 Bc|cugn ||gn S, |cnocn SE1 1||: 27 |Onse|| D||ve, Dc|||oge, Sc||nu||, wes M|o|Onos B3 8R t: 020 7378 708 |cnocn} t: 0154 773 51 wes M|o|Onos} e: ,ccs@suen|||.ccn w: www.suen|||.ccn !|P| |o., 2no ||cc|, !|nes SquO|e, 10 ueen \|cc||O S, |cnocn EC4\ 4B|: !|P| Nc|n, w||||Ons |cuse, MOncnese| Sc|ence PO||, ||cyo S Nc|n, MOncnese| M15 SE t: 020 7332 000 |cnocn} t: 011 227 7513 MOncnese|} e: n|c|y.sn|n@fp|.ccn |cnocn} e: |e||.g|Oy@fp|.ccn MOncnese|} w: www.fp|.ccn Orgon|zot|ons /R||S /| ||c|O||es Scc|ey}. /R||S/dK & ||e|Ono, !ne Ccu|Ou|o |ns|ue cf /|, Scne|se |cuse, !ne S|Ono, |cnocn wC2R 0RN t: 020 7848 2703 e: O|||s@ccu|Ou|o.Oc.u| w: www.O|||s.c|g.u|/suo/|noex.nn| !ne CnO|e|eo |ns|ue cf ||c|O|y Ono |nfc|nO|cn P|cfess|cnO|s C|||P} 7 R|ogncun S, |cnocn wC1E 7/E t: 020 7255 0500 e: |nfc@c|||p.c|g.u| w: www.c|||p.c|g.u| Journo|s ART LIBRARIANSHIP 13 A/| Dccumeo|c||co, c|-OnnuO| cu||e|n cf /R||S/N/. ||ee c nence|s, p|ev|cus |ssues Ono Oc|es cf ccnens OvO||Oc|e cn ne|| wecs|e. A/| ||c/c/|e: Jcu/oc|, quO|e||y puc||cO|cn cf /R||S/dK & ||e|Ono. AP||S |ew:-:|ee|, c|-ncnn|y news|ee| cf /R||S/dK & ||e|Ono. ||ee c nence|s, ne ex cf pOs |ssues |s OvO||Oc|e cn ne /R||S wecs|e. C|||| JcOc|e, ncnn|y puc||cO|cn cf C|||P. ||ee c nence|s, w|n ccnens Ono se|eceo O||c|es f|cn ne nOgOz|ne OvO||Oc|e cn ne wecs|e. C|||| Ocze||e, c|-wee||y news|ee| cf C|||P. ||ee c nence|s. !ne p|Oce wne|e ncs ||c|O|y Ono |nfc|nO|cn c|gOn|zO|cns pcs ne|| vOcOnc|es. 14 CARFFRS IN " HISTORY R ights licensing vork is an essential part ol the arts meJia anJ publishing inJustries. The level ol eJucational qualilication requireJ varies. Although some agencies ask lor an unJergraJuate Jegree anJ may lean tovarJs the arts, there are plenty ol opportunities lor vorking your vay up lrom scratch. The Design anJ Artists Copyright Society (DACS) is the UK's collecting society lor artists anJ visual creators, ollering three copyright anJ relateJ rights services to artists anJ visual creators. DACS vas lounJeJ in I98+ as a notlorprolit organitation, unJertaking copyright licensing on behall ol artists vho are members ol DACS' inJiviJual rights licensing service. More recently, DACS has become involveJ in the collective licensing ol artistic vorks. Collective licensing proviJes a means lor copying to be licenseJ, anJ royalties to be paiJ anJ JistributeJ to creators, vhere it is generally impractical lor creators to license their vork Jirectly. Some examples incluJe photocopying pages ol books anJ magatines incorporating visual vorks, or recorJing lor eJucational purposes ol UK terrestrial channel broaJcasts ol programmes incorporating artistic vorks. DACS has negotiateJ a share ol royalties lrom these sources lor visual creators, anJ pays it to them annually through its Payback service. DACS also aJministers a nev right lor artists, the Artist's Resale Right. This came in to lav on I+ Iebruary 2JJ6, anJ entitles artists to a share ol the resale value ol their vork vhen it is solJ by a gallery or auction house. InJiviJual rights members incluJe the lolloving.
kO8FkI GkO8F (2005) |c/me/|, Ccpy||gn /ov|se|, Des|gn Ono /||ss Ccpy||gn Scc|ey 0FDAIFD 8Y JOhN kO8IN8ON (2006) D||ecc| cf Se|v|ces, Des|gn Ono /||ss Ccpy||gn Scc|ey 15 i UK artists anJ their heirs anJ beneliciaries i a number ol overseas artists i the vorks ol another +J,JJJ international artists as a result ol reciprocal agreements vith similar visual art copyright societies (olten knovn as collecting societies) in 2 other countries. These agreements mean that each national society is entitleJ to license the repertoires ol all the others vith vhich it has agreements. DACS also aJvises its members on copyright queries anJ promotes its artists' vork through organiting exhibitions. Collecting societies license copyright material lor a lee. A DACS inJiviJual rights licence is a type ol contract alloving the licence purchaser to use a specilic artistic vork or selection ol artistic vorks in a range ol proJucts, lrom traJitional eJitorial uses in publications to commercial merchanJise. DACS pays 5 percent ol any licence revenue to the artist. The terms ol the licence vill be very specilic as to vhat the licensee (purchaser) can or cannot Jo vith the image stipulations as to permitteJ uses may also vary lrom artist to artist. DACS' role consists then not only in the collection anJ payment ol licence lees on behall ol its members, but also in the protection ol the integrity ol the vork itsell anJ the reputation ol its artists. Legal qualilications are not generally a prerequisite lor jobs in licensing, anJ applicants shoulJ not be JeterreJ il they have never stuJieJ intellectual property rights. There are many people vorking in the area ol rights licensing vith excellent knovleJge anJ experience acquireJ over the years. One aJvantage ol vorking in rights licensing is that specialist legal knovleJge can be JevelopeJ relatively quickly. This kinJ ol knovleJge is very marketable anJ may leaJ to opportunities in the major art institutions or across a broaJ spectrum ol the meJia. Licensing is a global market anJ these skills may leaJ to opportunities to vork abroaJ. A seconJ language is a great asset anJ vill open Joors in UK or USovneJ lirms vith loreign clients or ollices. IndividuaI rights Iicensing at DACS Generally, the entry point at DACS is to vork as a licensing executive. Licensing executives vork to achieve annual revenue targets, anJ liaise vith colleagues on the marketing anJ promotion ol artists anJ their vorks. Fxecutives act as a gobetveen vith clients, agreeing vhich vorks may be reproJuceJ. Alter consulting the artist (or estate) anJ approving samples ol the proposeJ proJuct, DACS then issues a licence anJ charges a lee baseJ upon a clearly JelineJ pricing moJel. Collecting societies must alvays be 1 CARFFRS IN " HISTORY ART LICFNSING 17 avare ol the requirements ol competition lav, anJ pricing structures must be clear, equitable anJ not create Jistortion in the marketplace, either by uncompetitive pricing, or by giving more lavourable treatment to a section ol licensing customers to the Jetriment ol others. Alter retaining a small commission to cover costs (currently 25 percent), DACS pays the remainJer ol the licence lee to the inJiviJual creators. One ol DACS' principal aims is the promotion ol artists' copyright. Through licensing activities, DACS aims to aJJress a stilltooprevalent culture in vhich many people still Jo not see vhy they shoulJ have to pay a lee to reproJuce an artist's vork. Anyone consiJering a career in licensing shoulJ Jo their homevork belore applying, because the ethos ol an organitation is important in terms ol vhether an inJiviJual lits in anJ vhether they enjoy their vork. DACS enjoys a gooJ rapport vith the artists it represents anJ vith many ol its clients. Licensing vork by its nature can occasionally be repetitive anJ an interest in your artists or your clients is essential. On the other hanJ, there is great satislaction to be gaineJ by seeing an innovative use ol an artistic vork, anJ knoving that one has vorkeJ harJ vith the artist or their heirs anJ the licensing customer to bring this about. DACS Joes not have a lormal vork experience programme at present but has on occasion in the past recruiteJ stuJents on placement lrom university arts anJ meJia courses to vork on specilic projects or to unJertake research. This may vell continue as anJ vhen the neeJ arises. )XUWKHU,QIRUPDWLRQ Job odvert|sements /|s |uc e: |nfc@O|snuc.cc.u| w: www.O|snuc.cc.u| /|s |uc |s O sucsc||p|cn s|e wn|cn Oove||ses O|s ,ccs. |eO|c Ouc/O|co cn McnoOys} w: ,ccs.guO|o|On.cc.u| Orgon|zot|ons Des|gn Ono /||ss Ccpy||gn Scc|ey, 33 |eO Sucn S, |cnocn EC1\ 0DX t: 020 733 8811 w: www.oOcs.c|g.u| CARFFRS IN " HISTORY 18 V ork in the travel business is multilaceteJ. It can be consiJereJ in roughly lour areas. SeciaIinterest escorted/guided tours Opportunities break Jovn into the lolloving lielJs. i Acmioistretioo eoc merr:tio oj toars This involves brochure vriting, proJuction ol travel Jocuments anJ tour notes, anJ obtaining post tour leeJback. i 1oar meoe:r/:scort FscorteJ tours, more olten than not, require the services ol a tour escort or manager. This entails taking care ol the vellare ol tour members. Responsibilities can range lrom making sure the tour members assemble on time to retrieving missing prosthetic limbs on ThirJ VorlJ trains. i 1oar i:ecio A prospective tour leaJer can organite her/his ovn group. Once a grounJ base ol loyal supporters has been lormeJ, the potential tour leaJer can act as a lree agent anJ name her/his subject anJ Jestination, or s/he can approach a tour promoter to create a programme. The essential prerequisite to tour management or tour leaJing, apart lrom acaJemic knovleJge, is prior experience anJ knovleJge ol a tour's Jestination. i Ca:st i:ctar:r This role is usually perlormeJ by an inJiviJual not necessarily conversant vith the vorkings ol tour management. Selection ol any guest lecturer normally JepenJs on an inJiviJual's preexisting or proven reputation in a lielJ ol expertise. Some tour
JANF ChI8hOIM !|Ove| Ccnsu|On, !ne d||nOe !|Ove| CcnpOny 1 operators specialiting in art tours require a guest lecturer to have a PhD or to have publisheJ on the subject ol the tour. A guest lecturer has the lolloving options. to approach an establisheJ tour company or to volunteer to help organite tours lor art clubs such as the National Association ol Decorative & Iine Arts Societies (NADIAS), or to set up inJepenJently. RetaiI traveI The vork involves booking anJ issuing air tickets, making hotel anJ car hire reservations or booking package holiJays. Vith a backgrounJ in art history, a travel agent can guiJe a client to areas ol cultural interest anJ Jevise customiteJ itineraries vith a strong art content, accorJing to the client's vishes. Driver/guide A Jriver/guiJe can apply to the Institute ol Tourist GuiJing lor training. Iluency in a loreign language is helplul. No specilic qualilications are requireJ but knovleJge anJ interest in art history voulJ be an asset. TraveI journaIism Opportunities exist in the lielJ ol travel journalism lor the graJuate vith a general ability to vrite anJ assess her/his surrounJings vith llair. Summary To summarite, a travel agent, consultant or tour manager neeJs to be knovleJgeable, numerate anJ literate, anJ possess vellJevelopeJ interpersonal skills. Fvery project can open up nev areas ol research anJ nev liaisons vith customers anJ suppliers ranging lrom bus companies to ovners ol private collections vorlJviJe. The travel business hovever is very vulnerable to the consequences ol international inciJents. A strategically placeJ bomb can knock out not only tourism in, say, Fgypt or Bali, but also specialist travel companies anJ tour operators Jealing in that area. The increasing popularity ol the Internet also presents a lormiJable challenge lor anyone in the travel business. Iortunes are not usually maJe in the travel business. Hovever, lov pay can be compensateJ by access to JiscounteJ air lares anJ travel opportunities. Vhile retail travel anJ tour aJministration can oller lulltime employment, the role ol tour escort/manager or guest lecturer voulJ be on a lreelance anJ parttime basis. CARFFRS IN " HISTORY 20 )XUWKHULQIRUPDWLRQ Orgon|zot|ons !ne d||nOe !|Ove| CcnpOny, 2527 \Onscn P|Oce, |cnocn Sw 1/Z t: 020 738 48 e: enqu||y@neu||nOe|Ove|ccnpOny.cc.u| w: www.u||nOe|Ove|ccnpOny.cc.u| MO||n ROnoO|| !|Ove|, \cysey |cuse, BO||ey Mcw POssOge, |cnocn w4 4P| t: 020 8742 3355 e: |nfc@nO||n|OnoO||.cc.u| w: www.nO||n|OnoO||.ccn Spec|O|cu|s, 2 Cnese| Rcw, |cnocn Sw1w J| t: 020 7730 227 e: |nfc@spec|O|cu|s.cc.u| w: www.spec|O|cu|s.cc.u| Ccx & K|ngs, c|ocn |cuse, 10 |eenccO P|Oce, |cnocn Sw1P 1P| t: 020 7873 5000 e: ccx.||ngs@ccxOno||ngs.cc.u| w: www.ccxOno||ngs.cc.u| \cyOges Ju|es \e|ne, 21 Dc|se SquO|e, |cnocn Nw1 t: 0845 1 7003 e: sO|es@v,v.cc.u| w: www.v,v.cc.u| Ncc|e CO|eocn|O, 2 Cnese| C|cse, Be|g|Ov|O, |cnocn Sw1X 7BE t: 020 7752 0000 e: |nfc@ncc|e-cO|eocn|O.cc.u| w: www.ncc|e-cO|eocn|O.cc.u| K|||e| |c||oOys, 4 wOe||cc Ccu|, 10 !neeo S, |cnocn SE1 8S! t: 0870 112 3333 e: |Ove|@||||e|nc||oOys.ccn w: www.||||e|nc||oOys.ccn !ne |ns|ue cf !cu||s u|o|ng, ||cyo's Ccu|, 1 cconOn's YO|o, |cnocn E1 8/! t: 020 753 1257 e: |nfc@|ns|ue-cf-cu||s-gu|o|ng.c|g.u| w: www.Opg.c|g.u|/|g.nn| NO|cnO| /sscc|O|cn cf Decc|O|ve & ||ne /|s Scc|e|es N/D|/S}, N/D|/S |cuse, 8 u||fc|o S, |cnocn wC1N 1D/ t: 020 7430 0730 e: enqu|||es@nOofOs.c|g.u| w: www.nOofOs.c|g.u| Courses !!C !|O|n|ng, Cne|sey |cuse, 1 Cne|sey Ro, wc||ng, Su||ey d21 5BN t: 01483 727321 e: |nfc@c|O|n|ng.cc.u| w: www.c|O|n|ng.cc.u| ART TOURISM 21 GkAFMF 8MAkI Cc-eo|c|, Cc/ee/: |o A/| |:|c/, CIAIkF WAI8h |OouOe Suoen, B|||cec| Cc||ege, dn|ve|s|y cf |cnocn C hoosing a job in arts aJministration can be the start ol a varieJ, interesting anJ satislying career lor a graJuate in art history. Arts aJministrators proviJe essential support lor organitations such as galleries, museums, arts centres, arts councils anJ local authorities, negotiating vith lunJers, venues, ollicials anJ artists in orJer to bring the arts to the public. Their responsibilities are equally various, incluJing Jealing vith linancial anJ legal matters, marketing, sponsorship, ollice management, health anJ salety, training anJ prolessional Jevelopment. Arts aJministrators also implement policies proJuceJ by arts councils anJ regional arts boarJs, in aJJition to the lacilitating or organiting ol artistic events, such as exhibitions, anJ the support anJ encouragement ol artists, especially nev talents. Not surprisingly, the smaller the organitation, the more ol these responsibilities that vill lall to the inJiviJual arts aJministrator. The potential scope is enormous but vhether the job is promoting Jiversity in the arts, acting as a project manager lor a public commission or securing lunJing lor a lixeJ builJing, the arts aJministrator vill be someone vith gooJ management anJ people skills, llexibility anJ enthusiasm. Iormal arts aJministration qualilications are not manJatory lor those vishing to enter the prolession, although many practitioners possess a Jegree in an artsrelateJ subject. Hovever, some universities anJ colleges Jo oller Jegrees, or subjects as parts ol Jegrees, in arts management or aJministration (s:: Iurther inIormation). 22 Like all careers in the arts, there is intense competition lor arts aJministration jobs. Relevant experience is likely to be as uselul as your Jegree so it is a very gooJ iJea to search out temporary vacation anJ voluntary vork to aJJ to your CV. )XUWKHULQIRUPDWLRQ |c| O gcco cve|v|ew cf O|s Oon|n|s|O|cn wnO | |s, OvO||Oc|e |O|n|ng, sO|O|y |eve|s, |e|Oeo ,ccs, ec} gc c www.p|cspecs.Oc.u|. !c f|no /|s /on|n|s|O|cn, c||c| cn Jccs Ono wc||, Exp|c|e ypes cf ,ccs, nen /on|n|s|O|cn. Job odvert|sements ||e Ouc/O|co McnoOy's neo|O pOges} w: ,ccs.guO|o|On.cc.u| /|s |uc e: |nfc@O|snuc.cc.u| w: www.O|snuc.cc.u| / sucsc||p|cn s|e wn|cn Oove||ses O|s ,ccs. A/|: |/c|e::|coc| o||oe. w: www.O|sp|cfess|cnO|.cc.u| /n cn||ne O|s nOnOgenen nOgOz|ne nO |nc|uoes O ,ccs ||n|. Scne |nfc|nO|cn |s OvO||Oc|e O nc cnO|ge, cu ne fu|| se|v|ce |s cffe|eo cn|y c sucsc||ce|s. Orgon|zot|ons /|s /ov|ce t: 0800 03 0444 e: wec@n|n|eq.c|g.u| w: www.O|sOov|ce.ccn /|s /ov|ce cffe|s f|ee ccu|se Ono cO|ee| Oov|ce. /|s Ccunc|| Eng|Ono, 14 |eO Pee| S, |cnocn Sw1P 3N t: 0845 300 200 e: enqu|||es@O|sccunc||.c|g.u| w: www.O|sccunc||.c|g.u| Scc|sn /|s Ccunc||, 12 MOnc| P|Oce, Eo|ncu|gn E|3 7DD t: 0845 03 000 e: ne|p.oes|@scc|snO|s.c|g.u| w: www.scc|snO|s.c|g.u| /|s Ccunc|| cf wO|es, Museun P|Oce, CO|o|ff C|10 3NX t: 02 2037 500 e: feeocOc|@O|swO|es.c|g.u| w: www.O|swO|es.c|g /|s Ccunc|| cf Nc|ne|n ||e|Ono, MOcNe|ce |cuse, 77 MO|cne Ro, Be|fOs, Nc|ne|n ||e|Ono B! / t: 028 038 5200 e: |nfc@O|sccunc||-n|.c|g w: www.O|sccunc||-n|.c|g /|s & Bus|ness / & B}, Nuneg |cuse, 0 O|nsfc|o S, Bu|e|'s wnO|f, |cnocn SE1 2NY t: 020 7378 8143 e: neOo.cff|ce@/OnoB.c|g.u| w: www.OOnoc.c|g.u| ARTS ADMINISTRATION 23 Courses / nunce| cf |ns|u|cns cffe| ccu|ses. !ne fc||cw|ng ||s oces nc O|n c ce exnOus|ve, cu se|ves s|np|y Os O sO||ng pc|n. C|y dn|ve|s|y |cnocn, DepO|nen cf Cu|u|O| Pc||cy Ono MOnOgenen, Scncc| cf /|s, Nc|nOnpcn SquO|e, |cnocn EC1\ 0|B t: 020 7040 8753 e: cpn@c|y.Oc.u| w: www.c|y.Oc.u|/cpn/|noex.nn| ffe|s O nunce| cf pcsg|OouOe p|cg|Onnes, |nc|uo|ng M/ |n /|s MOnOgenen Ono M/ |n Museun Ono O||e|y MOnOgenen. /snc|cf |ne|nO|cnO| Bus|ness Scncc|, /ng||O Rus||n dn|ve|s|y, EOs Ro, COnc||oge CB1 1P! t: 01223 33271 ex. 24 e: p.pf|cnne|@Ong||O.Oc.u| w: wec.Opu.Oc.u|/O|cs/pg/cOnnOO|nOn.nn| M/ |n /|s MOnOgenen !ne /|s |ns|ue O Bcu|nencun, wO|||socwn, Pcc|e, Dc|se B|12 5|| t: 01202 533011 e: ccu|secff|ce@O|c.Oc.u| w: www.O|c.Oc.u| B/ |cns} /|s Ono Even MOnOgenen B|||cec| Cc||ege, dn|ve|s|y cf |cnocn, MO|e S, B|ccnscu|y, |cnocn wC1E 7|X t: 020 731 000 e: |nfc@cc|.Oc.u| w: www.cc|.Oc.u|/suoy/pg/O|snOnO/O|snnO.nn| M/ |n /|s Pc||cy Ono MOnOgenen !ne cc||ege O|sc cffe|s O nunce| cf ce||f|cOes, o|p|cnOs Ono snc| ccu|ses. w: www.cc|.Oc.u|/suoy/ce/suc,ecs/O|snOnOgenen ||e cu||c/: w|:| |c ||cok F|uoeO S|ec|e/O. |c|||og|cm C||, Ccuoc||. |c/ c::|:||og |o ||e c/ecc/c||co c| |||: c|cc|e/. CARFFRS IN " HISTORY 24 A uction houses combine commercial anJ acaJemic expertise to iJentily, market anJ sell line art, antiques anJ collectables. Vhether you are selling Jinosaur eggs or a vork by Damien Hirst there vill be an auction house vith a specialist lor you. Auction houses these Jays are central to the line art, antiques anJ collectables market selling some USS3 billion vorlJviJe annually. The breaJth ol knovleJge, both technical anJ operational, requireJ, especially vith regarJ to the lav, in vhat is a global market, is consiJerable. There are plenty ol employment opportunities in both international salerooms anJ provincial auction houses. Ior those vishing to catalogue, value anJ sell there are tvo main paths. i As a generalist, your knovleJge vill neeJ to be broaJ, but sounJ, across all the major Jisciplines, incluJing paintings anJ prints, lurniture, silver, Fnglish anJ Furopean ceramics anJ glass, Oriental ceramics anJ vorks ol art, clocks, vatches anJ barometers, anJ vorks ol art anJ collectors items. It may also be necessary to reler clients to specialists vhen appropriate. i As a specialist, you vill concentrate in one small area ol expertise (e.g. contemporary art or eighteenthcentury Fnglish lurniture). Both oller opportunities in lulltime employment or as a parttime consultant.
8AkAh h0NI GkADIC8A Execu|ve, RcyO| |ns|u|cn cf CnO|e|eo Su|veyc|s " Mr Toovey is also Chairman ol RICS Arts anJ Antiques Iaculty's Marketing Publicity & Promotion Group, anJ ViceChairman ol RICS Arts anJ Antiques Iaculty BoarJ 25 A varieJ Jay can involve meeting clients at (the client's) home or at the saleroom to value objects lor sale, probate (e.g. inheritance tax) or insurance. Other Jays vill be spent on research anJ reports. AnJ, ol course, there is the theatre anJ excitement ol the auction sales. Auctions are a JeaJline inJustry vhere catalogues must be printeJ anJ posteJ to potential buyers in gooJ time. This sometimes requires extra hours. The salaries vithin the prolession are moJest to begin vith, anJ it is likely it vill take consiJerable time to acquire the vorking anJ practical knovleJge usually necessary lor promotion anJ greater pay. Salaries are generally comparable vith those ol museum prolessionals. Usually, the more senior the post the better the remuneration. The majority ol auction houses, especially international operations, vill be looking to hire graJuates vith an art history or relateJ backgrounJ. Qualilications matter much more than in the past, anJ this trenJ vill continue as global business increases. The only internationally recogniteJ prolessional qualilication is that ol the Royal Institution ol ChartereJ Surveyors (RICS), vhich has a specialist Arts anJ Antiques Iaculty. This qualilication is highly regarJeJ by the prolession, other prolessions anJ clients. Its stanJing among the prolessions, anJ the coJe ol practice vhich sets its members apart lrom the unregulateJ sector, gives clients the assurance they neeJ that they are in gooJ hanJs. QualilieJ RICS prolessionals vill olten vork very closely vith lavyers, bankers, accountants, insurers, loss aJjusters anJ other prolessionals in the course ol their business lives. Public avareness ol the auction vorlJ, line art, antiques anJ collectables has openeJ up meJia anJ other public opportunities lor some auctioneers anJ valuers (e.g. on television anJ raJio, speaking to collectors' societies). Many Jealers start their vorking lives in auction houses vhilst others move into insurance, conservation/restoration, or become Jirectors or curators in museums. They Jevelop their skills anJ broaJen their knovleJge in the saleroom, learn about the vorlJ ol business, anJ Jevelop a netvork ol contacts vho share their love lor, anJ enjoyment ol, the things vhich lascinate them. CARFFRS IN " HISTORY 2 )XUWKHULQIRUPDWLRQ Job odvert|sements /n|ques !|Ooe Ozee t: 020 7420 00 e: eo|c||O|@On|ques|OoegOzee.ccn w: www.On|ques|OoegOzee.ccn D|unncno ReOo Rec|u|nen Ono !|O|n|ng t: 0870 241 20 e: |ec|u|@o|unncno|eOo.ccn w: www.o|unncno|eOo.ccn Orgon|zot|ons RcyO| |ns|u|cn cf CnO|e|eo Su|veyc|s R|CS}, R|CS CcnOc Cen|e, Su|veyc| Ccu|, weswcco wOy, Ccven|y C\4 8JE t: 0870 333 100 e: ccnOc||cs@||cs.c|g w: www.||cs.c|g |nfc|nO|cn Occu dK Ouc|cn ncuses |s OvO||Oc|e f|cn ne Ao||que: |/cOe Ocze||e wecs|e see Occve fc| oeO||s}. Courses K|ngscn dn|ve|s|y, |Ocu|y cf /|, Des|gn & /|cn|ecu|e, K|ngscn dn|ve|s|y, Kn|gns PO||, K|ngscn, Su||ey K!1 2J t: 020 8547 802 e: oes|gnpcsg|Oo@||ngscn.Oc.u| w: www.||ngscn.Oc.u| M/ |n /|s MO||e /pp|O|sO| P|cfess|cnO| P|Oc|ce} ||e eO||c/: w|:| |c ||cok .cooe co|,. |ccu||, D|/ec|c/. A/|: & Ao||que: |ccu||,. P|CS. |c/ /e.|ew|og |||: c|cc|e/ |c/ ||e 200o eO|||co. AUCTION TRADF 27 CARFFRS IN " HISTORY 28 F Jiting can be interesting vork, although you may neeJ to Jo routine jobs initially to gain valuable experience. The early stages ol an eJiting career are unlikely to be vell paiJ although it can become more remunerative as you progress. A lirst Jegree is a minimum requirement lor someone embarking on an eJiting career anJ a higher specialist Jegree voulJ be benelicial in orJer to become a commissioning eJitor. Publishing is nov marketJriven, so it is very olten the Jesigner rather than the eJitor vho makes Jecisions. In some circumstances, though by no means all, a book's appearance can be more important than its content. As in most other lielJs, routine aJministration is a vital aspect ol the job, a methoJical approach is therelore essential. FJiting is more than reaJing manuscripts hovever, anJ strong interpersonal skills are important qualities lor the voulJbe eJitor tact anJ Jiplomacy are inJispensable vhen Jealing vith authors. At managing eJitor level, one has to communicate continually vith other people vho lorm part ol the publishing process. Publishing is a rapiJly Jeveloping lielJ because it relies so heavily on inlormation technology. Mastery ol a Jesktop publishing program, such as QuarkXpress, is a necessary skill, especially in magatine vork. TraJitional copyeJiting anJ prooling skills are still an essential prerequisite. Career otions At entrance level, a trainee eJitor voulJ begin by proolreaJing anJ copy eJiting, belore progressing to eJiting. FJitors learn to revrite anJ
FIIFFN CADMAN ||ee|Once Eo|c| 2 restructure copy belore reaching the level ol managing eJitor, at vhich level overseeing several titles, other eJitors' anJ lreelancers' vork anJ sometimes managing buJgets proviJes a varieJ anJ challenging role. ProJuction eJitors liaise vith printers, typesetters anJ most ol the other Jepartments vithin a company. A commissioning eJitor voulJ neeJ to cultivate many contacts in her/his lielJ, have a knovleJge ol the market, be able to manage buJgets anJ authors, anJ have the intelligence, imagination anJ inspiration to generate bright iJeas lor nev projects, vorking at this level can sometimes leaJ to travel anJ proviJes interesting challenges. The eJiting ol nevspapers anJ magatines is signilicantly Jillerent to book eJiting as the turnarounJ ol material has to be much laster. The ability to vork to tight JeaJlines is therelore an essential skill. Vebsites also neeJ gooJ eJitors. Other possible areas ol vork incluJe book publishing. At the outset ol your career it is aJvisable to lirst gain inhouse experience vith a publisher belore lreelancing. Check major museums anJ art galleries lor those vith publishing programmes. There are also national, regional anJ local government Jepartments vith responsibilities lor the proJuction ol cultural Jocuments. In aJJition, there are also nongovernmental organitations (e.g. Fnglish Heritage) anJ voluntary sector boJies vho may publish inhouse. SenJing unsoliciteJ letters anJ CVs to publishing houses is rarely proJuctive. Netvorking is one ol the vays people get themselves knovn. Il you knov someone in the traJe, talk to them anJ linJ out as much as you can. Publishing is a lastchanging arena, particularly because it is technologyJepenJent anJ linkeJ to innovation anJ the vicissituJes ol technological trenJs. To contact publishers, consult the extensive lists in a current eJition ol the writ:rs` eoc Artists` Y:erooor anJ/or 1|: writ:r`s Eeocooor. These are publisheJ annually. Iamiliarite yoursell vith vhat is in the bookshops to unJerstanJ vhat inJiviJual publishers proJuce, so that you can approach them vith some knovleJge ol the genre ol vork they publish. You coulJ also ask lor copies ol their current catalogues anJ check their vebsites. Job odvert|sements ||e 5cck:e||e/ w: www.neccc|se||e|.ccn ||e Ouc/O|co McnoOy's neo|O pOges, O|sc ||ss ccu|ses}. w: ,ccs.guO|o|On.cc.u| Bcc| Pecp|e w: www.ccc|-pecp|e.ne Juoy ||sne| /sscc|Oes, 7 SwO||cw S, |cnocn w1B 4DE t: 020 7437 2277 e: cv@,uoyf|sne|.cc.u| w: www.,uoyf|sne|.cc.u| CARFFRS IN " HISTORY 30 Orgon|zot|ons Scc|ey fc| Eo|c|s Ono P|ccf|eOoe|s SfEP}, R|ve|cOn| |cuse, 1 Puney B||oge /pp|cOcn, |u|nOn, |cnocn Sw 3JD t: 020 773 3278 e: Oon|n|s|O|cn@sfep.c|g.u| w: www.sfep.c|g.u| !ne Scc|ey fc| Eo|c|s Ono P|ccf|eOoe|s |uns O vO||ey cf |O|n|ng ccu|ses, scne cf wn|cn O|e cpen c ncn-nence|s. | nc|os On OnnuO| ccnfe|ence. Puc||sne|s /sscc|O|cn, 2B McnOgue S, |cnocn wC1B 5Bw t: 020 71 11 e: nO||@puc||sne|s.c|g.u| w: www.puc||sne|s.c|g.u| Scc|ey cf Ycung Puc||sne|s, Mence|sn|p Sec|eO|y, EnoeOvcu| |cuse, 18 SnOfescu|y /venue, |cnocn wC2| 8!J w: www.nesyp.c|g.u| wcnen |n Puc||sn|ng w|P}. !ne pcsO| ccnOc Ooo|ess scne|nes cnOnges, | |s ne|efc|e Oov|sOc|e c cnec| ne wecs|e f||s. e: |nfc@w|puc.c|g.u| w: www.w|puc.c|g.u| !ne |cucnc C|uc, 45 DeOn S, Scnc, |cnocn w1\ 4P t: 020 743 485 e: enqu|||es@neg|cucncc|uc.ccn w: www.neg|cucncc|uc.ccn !ne |cucnc C|uc |s O pcpu|O| nee|ng p|Oce fc| pecp|e enp|cyeo |n ne neo|O |nous|y. Courses Bcc| Pecp|e, ueen /nne |cuse, |uccn, |e|efc|osn||e |R PN t: 0845 58008 e: eo|c|@ccc|-pecp|e.ne w: www.ccc|-pecp|e.ne |cnocn Cc||ege cf Ccnnun|cO|cn, E|epnOn & COs|e, |cnocn SE1 SB t: 020 7514 500 e: snc|ccu|ses@|cc.O|s.Oc.u| w: www.|cc.O|s.Oc.u| !ne |CC cffe|s O nunce| cf snc| ccu|ses cn ccpy eo||ng. !ne Puc||sn|ng !|O|n|ng Cen|e, 45 EOs ||||, wOnoswc|n, |cnocn Sw18 2Z t: 020 8874 2718 e: puc||sn|ng.|O|n|ng@ccc|ncuse.cc.u| w: www.|O|n4puc||sn|ng.cc.u| !ne Puc||sn|ng !|O|n|ng Cen|e cffe|s o|sOnce |eO|n|ng ccu|ses |n ccpy-eo||ng, eo||ng Ono p|ccf|eOo|ng. |cnocn Scncc| cf Puc||sn|ng, DOv|o One |cuse, Nc|ng |||| Oe, |cnocn w11 3JS t: 020 7221 33 e: |sp@eOsyne.cc.u| w: www.puc||sn|ng-scncc|.cc.u| |c| ncse ||v|ng cus|oe |cnocn | |s pcss|c|e c |O|n Os O p|ccf|eOoe| n|cugn o|sOnce |eO|n|ng w|n ccnpOn|es sucn Os CnOpe|ncuse: 1 MOgoO|en Ro, Exee| EX2 4SY t: 0800 328 83 e: enqu|||es@cnOpe|ncusepuc||sn|ng.ccn w: www.cnOpe|ncusepuc||sn|ng.cc.u| Puc||sn|ng Ccu|ses /|cuno ne wc||o ccnO|ns |nfc|nO|cn cn puc||sn|ng |n vO||cus ccun||es. !ne ||s oces nc O|n c ce ccnp|enens|ve, cu |s O usefu| sO||ng pc|n. w: www.weccfeng||sn.cc.u|/pucccu|s.nn BOOK FDITING 31 32 CARFFRS IN " HISTORY B ook publishing is a large global inJustry. Vhat lollovs is locuseJ on art book publishing (broaJly JelineJ as covering the vhole range ol visual arts), but much ol it applies more generally to other areas ol publishing. One shoulJ keep in minJ that publishing is a business anJ, as such, is governeJ by the neeJ to make a prolit it is quite easy to proJuce even gooJ books at a loss. A soliJ business sense is thus invaluable in vhatever area ol publishing one vorks. On the vhole, margins in art book publishing are slenJer anJ the markets are competitive. Salaries therelore tenJ to be commensurately moJest but it can be a very revarJing career, both intellectually anJ creatively. Though publishing as a vhole is a signilicant business, art book publishing is quite a small vorlJ anJ, vhile vorking lor a specialist art publisher is likely to make the most use ol one's art historical training, the longer one remains in that lielJ the harJer it is to move into publishing in other subjects or markets. Some skills anJ experience are translerable, others less so. The activities ol publishers, in vhatever lielJ, are governeJ by the perceiveJ market lor inJiviJual books anJ, as such, this is the simplest vay to JiviJe up the inJustry, though markets are not alvays as clearly JelineJ as this voulJ suggest. The lolloving is primarily locuseJ on the UK inJustry but many ol these companies vill have international ollices. In aJJition, there are many companies in other countries that also publish art books.
FhIIIF COOFFk Eo|c||O| D||ecc|, |Ou|ence K|ng Puc||sn|ng BOOK PUBLISHING 33 Tyes oI ulIisher 1rec: The traJe market is the broaJest but most unpreJictable market lor art books anJ Jescribes the market ol socalleJ 'eJucateJ general reaJers'. It incluJes 'collee table' books anJ more imageleJ titles. Companies that publish books lor this market incluJe most ol the specialist lirms, such as Thames anJ HuJson, PhaiJon, Taschen, Prestel, Laurence King Publishing, Merrell anJ Reaktion, as vell as the art lists ol some ol the larger, more general publishers, such as Dorling KinJersley, Pavilion, Orion, anJ Carlton. Acec:mic eoc r:j:r:oc: Books lor this market are aimeJ at other prolessional art historians. Publishers in this category incluJe most ol the above, together vith others such as Ashgate, RoutleJge anJ university presses (Yale is the major publisher in this lielJ, but there are also the university presses ol OxlorJ, CambriJge, Manchester anJ others). Fcacetiooei Books lor this market are aimeJ at stuJents in schools, colleges anJ universities. Many ol the publishers in the above tvo categories also publish lor this market. Vas:am eoc eii:rv aoiis|io Increasingly, galleries anJ museums are also setting up their ovn companies in orJer to publish exhibition catalogues, books anJ other printeJ materials that promote their exhibitions anJ collections. In the UK, this incluJes those attacheJ to the Royal AcaJemy, the Tate, the National Gallery, the Victoria anJ Albert Museum anJ the British Museum. PulIishing roIes There are a number ol Jillerent roles in book publishing. Fcitoriei This is the area vhere art historical knovleJge voulJ be most applicable. It incluJes the vork lrom commissioning a title to proolreaJing, copyeJiting anJ inJexing. Ior commissioning, you vill neeJ a reasonable knovleJge ol the subject area, market avareness anJ gooJ business sense, you vill also neeJ to Jevelop contacts to enable you to commission the right authors. Computer literacy is crucial lor most eJitorial tasks, anJ lamiliarity vith VorJ anJ QuarkXpress are perhaps the most important lor an eJitor (s:: BooI Editing chapter). CARFFRS IN " HISTORY 34 Pictar: r:s:erc| Picture research is usually a key role in the proJuction ol any illustrateJ book (s:: Picture Research chapter). D:sio Design is an important leature, especially lor art books, anJ incluJes not only the Jesign concept (the 'look') but also the JetaileJ page layout ol the book. The vhole process is nov increasingly Jigital, anJ so requires gooJ computer skills, as vell as creative ones. Most books are laiJ out using QuarkXpress soltvare (sometimes InDesign) anJ the vork tenJs to be Jone on Macs. Procactioo This covers all the physical stages ol a book's creation, primarily origination (the creation ol gooJ printeJ reproJuctions ol the images) anJ printing. ProJuction vork lor art books is lairly similar to that lor any other illustrateJ books. Verr:tio eoc sei:s This incluJes all ol the stages requireJ to get the linisheJ books marketeJ anJ solJ ellectively, incluJing liaising vith bookshops. Pi|ts Publishers olten sell the rights to their books to publishers in other countries so as to spreaJ the comparatively high costs ol illustrateJ books. This is usually a JeJicateJ publishing role (s:: Art Iicensing chapter). Language skills are a Jistinct bonus lor this vork, vhich may incluJe loreign travel. An increasing number ol the above roles are olten lilleJ by lreelance stall, especially copyeJiting, proolreaJing, Jesign anJ picture research. Vork experience can be obtaineJ in many publishing companies (especially larger companies) though it is olten ollereJ on a lairly ec |oc basis. Some companies, again the larger ones, also have more structureJ graJuate trainee programmes vhich oller a viJe range ol experience in Jillerent areas ol publishing. BOOK PUBLISHING 35 )XUWKHULQIRUPDWLRQ Job odvert|sements ||e 5cck:e||e/ dK} w: www.neccc|se||e|.ccn |uc||:|e/: week|, dS/} w: www.puc||sne|swee||y.ccn ||e Ouc/O|co cu||en|y ne McnoOy Ono SOu|oOy eo||cns} w: ,ccs.guO|o|On.cc.u| J|| SeO|cn & Se|ec|cn, 27 BeO| S, |cnocn w1| Rd t: 020 700 3500 e: |nfc@,f||ec|u|.ccn w: www.,f||ec|u|.ccn /s|cn, 1 Be||e|ey S, |cnocn w1J 8DJ t: 020 701 8012 e: |ecep|cn@gcOs|cn.ccn |nsp||eo Se|ec|cn, |csvenc| O|oens |cuse, !n||o ||cc|, 3537 |csvenc| O|oens, |cnocn Sw1w 0BS t: 020 753 400. |c| pcs||cns cus|oe |cnocn: |||s ||cc| ff|ces, c|oen C|css Ccu|, 4 Cc|nnO||e S, xfc|o X1 3EX t: 0185 20270 w: www.|nsp||eose|ec|cn.cc.u| Me||o|On, 12 Scunw|c| Mews, POoo|ngcn, |cnocn w2 1J t: 020 7402 33 e: seO|cn@ne||o|On-|ec|u|.ccn w: www.ne||o|On-|ec|u|.ccn Orgon|zot|ons w/||e/: coO A/||:|: ec/ccck. /&C B|Oc|. Puc||sne|s /sscc|O|cn, 2B McnOgue S, |cnocn wC1B 5Bw t: 020 71 11 e: nO||@puc||sne|s.c|g.u| w: www.puc||sne|s.c|g.u| Scc|ey cf Ycung Puc||sne|s, Mence|sn|p Sec|eO|y, EnoeOvcu| |cuse, 18 SnOfescu|y /venue, |cnocn wC2| 8!J w: www.nesyp.c|g.u| wcnen |n Puc||sn|ng w|P}. !ne pcsO| ccnOc Ooo|ess scne|nes cnOnges, | |s ne|efc|e Oov|sOc|e c cnec| ne wecs|e f||s. e: |nfc@w|puc.c|g.u| w: www.w|puc.c|g.u| Courses |cccu|ses e: suppc|@ncccu|ses.ccn w: www.ncccu|ses.ccn |cccu|ses p|cv|oes oeO||s cf un|ve|s||es cffe||ng ccu|ses |n puc||sn|ng, scne O oeg|ee |eve| !ne Puc||sn|ng !|O|n|ng Cen|e, 45 EOs ||||, wOnoswc|n, |cnocn Sw18 2Z t: 020 8874 2718 e: puc||sn|ng.|O|n|ng@ccc|ncuse.cc.u| w: www.|O|n4puc||sn|ng.cc.u| !ne Puc||sn|ng !|O|n|ng Cen|e O|sc p|cv|oes O |Onge cf snc|, nc|e fccuseo |O|n|ng ccu|ses 3 CARFFRS IN " HISTORY
8OFhIF 8O8IOCk* Cc-eo|c|, Cc/ee/: |o A/| |:|c/, T he role ol a bookseller can be varieJ. The job can incluJe unpacking stock vhen it arrives in the shop, packing books to senJ them out to clients anJ everything in betveen. This coulJ consist ol the selling, cataloguing anJ repair ol books as vell as liaising vith customers anJ suppliers, basic accounting anJ stock control anJ returning any unsolJ magatines, perioJicals anJ journals to publishers. BroaJranging abilities are uselul lor this vork. GooJ interpersonal skills are a key requirement lor a bookseller, along vith excellent proJuct knovleJge. Although the majority ol books solJ at Shipley's are vritten in Fnglish, languages are uselul vhen vorking in a cosmopolitan environment such as the Charing Cross RoaJ, as is being streetvise. Computer literacy is nov essential in this traJe, anJ touchtyping skills are a Jelinite asset. Catalogue proJuction is an important aspect ol the job, although Shipley's has a housestyle, anJ booksellers are traineJ on the job. Vhether or not one vorks alone voulJ JepenJ on the site anJ location ol the organitation one vorks lor. Fmployment vith an inJepenJent bookseller voulJ involve using a viJer range ol skills than vorking lor one ol the national chains ol booksellers such as Vaterstones or Ottakar's, vhere employees' Juties are mainly restricteJ to the selling ol books. Vith the Jramatic rise ol Jealing over the Internet anJ electronic companies such as Amaton anJ ABF Books (AJvanceJ Book Fxchange) ve 37 "This contribution on bookselling is baseJ on an interviev by Sophie Bostock vith Ian Shipley, ovner ol Shipley's, specialist art booksellers, Jealing in nev, olJ, rare anJ scholarly books on art, anJ vith Marius Kociejovski, vriter anJ seller ol antiquarian books. CARFFRS IN " HISTORY 38 JiscusseJ the possibility ol booksellers vorking vithout a shop. Although many ol the bookshops on the Charing Cross RoaJ have JisappeareJ oving to enormous rent increases, Ian Shipley thinks it is aJvantageous to vork lrom a shop anJ it helps sales people linJ it reassuring il you have a physical presence. AccorJing to Marius Kociejovski, the bookshop is the soul ol the traJe. Ian Shipley agreeJ, aJJing that there is a big Jillerence betveen bookselling anJ book Jealing the lormer is a vocation, albeit a vocation that one can acciJentally slip into. InJeeJ, this vas the case lor Ian Shipley himsell, vho stuJieJ Iine Art at Brighton School ol Art. Ian subsiJiteJ his stuJies by Joing casual labour at Nevhaven Jocks but vhen he realiteJ this line ol vork coulJ be Jangerous became involveJ in the book traJe insteaJ. Ian starteJ his career by vorking as a packer lor a vholesaler selling exhibition catalogues lrom the UniteJ States. He Jescribes himsell as having JrilteJ into bookselling vhen, vhilst researching his thesis, he realiteJ that there vas a niche market lor rare art books, particularly outolprint catalogues. Although the number ol booksellers is in Jecline, JemanJ lor books still remains the same but they are being solJ in a Jillerent vay. TraJitionally, booksellers have lrequently solJ their stock via mail orJer, catalogues useJ to be printeJ anJ maileJ to customers, but this inlormation can nov be accesseJ online. Ior Ian Shipley, the main source ol competition comes not lrom the ecompanies but governmentlunJeJ boJies institutions such as the National Gallery, the National Portrait Gallery, anJ the Tate, etc. The past tvo JecaJes has seen the grovth ol the exhibition catalogue. Iormerly, catalogues useJ to concisely list anJ Jescribe vorks ol art shovn at an exhibition, novaJays, they tenJ to be lavishly illustrateJ volumes that incluJe scholarly essays. The rise ol this genre ol catalogue has partially resulteJ in the grovth ol the gallery bookshop. Although the major galleries present some competition to the art bookseller's traJe they are geareJ to selling books relating to current exhibitions anJ tenJ not to stock rare catalogues anJ, consequently, both kinJs ol retail establishment are able to coexist. Vhen askeJ about hov he envisageJ bookselling in 2J years time, Ian Shipley remarkeJ that many more people voulJ be buying books online. In the case ol Shipley's, one ol the lirst bookshops to utilite the Internet, online traJing has beneliteJ the business. Ian is ol the opinion that the olJstyle book collector has JisappeareJ anJ that the great collector has been replaceJ by the great consumer. Increasingly, people reaJ only vhat they are tolJ to. Variety coulJ be seen to be a positive aspect ol this line ol vork as every Jay is Jillerent in a bookshop. Hovever, as in many artsrelateJ careers, salaries in bookselling are not high. A starting salary lor a trainee at Shipley's voulJ be JI2,JJJ. QuaIiIications and ersonaI quaIities Ian Shipley alvays employs graJuates to vork in his shop, prelerring those vith a broaJ knovleJge ol art history anJ the art vorlJ more generally. He recommenJs reaJing a paper such as 1|: Art X:wse:r to remain current vith vhat is going on in the art vorlJ. Booksellers are generally very knovleJgeable anJ vellreaJ people. As excellent interpersonal skills are absolutely necessary lor vorking in this sector, it is essential lor job applicants to Jemonstrate gooJ conversational ability anJ an avareness ol vhat is going on in the art vorlJ anJ in the vorlJ in general. Booksellers are requireJ to converse intelligently vith a viJe range ol customers as vell as other agents (eg publishers' representatives). The ability to think on one's leet anJ to think laterally is also an aJvantage. Training is given at Shipley's the training perioJ is three months though it can take up to I2 months to become a competent bookseller. Booksellers rarely aJvertise posts. Ian Shipley olten responJs to speculative letters anJ people Jropping oll CVs. Occasionally, customers have become employees. Institutional jobs (lor example posts in museum bookshops) are aJvertiseJ. Occasionally, Shipley's vill accept volunteers anJ ollers training in lieu ol vages. )XUWKHU,QIRUPDWLRQ Orgon|zot|ons !ne /n|quO||On Bcc|se||e|s /sscc|O|cn /B/}, SOc|v|||e |cuse, 40 P|ccOo|||y, |cnocn w1J 0DR t: 020 743 3118 e: Oon|n@OcO.c|g.u| w: www.OcO.c|g.u| !ne Bcc|se||e|s /sscc|O|cn cf ne dn|eo K|ngocn Ono ||e|Ono |o, M|nse| |cuse, 272 \OuxnO|| B||oge Ro, |cnocn Sw1\ 1B/ t: 020 7802 0802 e: nO||@ccc|se||e|s.c|g.u| w: www.ccc|se||e|s.c|g.u| |ne|nO|cnO| Bcc|se||e|s |eoe|O|cn, CnOusee oe CnO||e|c| 51c, Bc|e 1, B100 B|usse|s, Be|g|un t: 00} 32 2 223 4 40 e: |cf.ccc|se||e|s@s|yne.ce w: www.|cf-ccc|se||e|s.c|g 3 BOOKSFLLING !ne P|cv|nc|O| Bcc|se||e|s |O||s /sscc|O|cn, !ne |o CcOcn |cuse, 1 Me|ccu|n S, Rcyscn, |e|s S8 7BZ t: 0173 248400 e: |nfc@pcfO.c|g w: www.pcfO.c|g Sn|p|ey, Spec|O||s O| ccc|se||e|, 70 CnO||ng C|css Ro, |cnocn wC2| 0BB t: 020 783 4872 e: O|ccc|@ccnpuse|ve.ccn w: www.O|ccc|.cc.u| 8ooks/[ourno|s ||e A/| |ew:ccce/ w: www.neO|newspOpe|.ccn. ||e A/| |ew:ccce/ cffe|s //| suoen nence|s O 50 pe|cen o|sccun cff ne OnnuO| sucsc||p|cn |Oe. !c sucsc||ce, suoens sncu|o pncne 0870 458 3774 Ono quce Suoen Mence|s cf ne /sscc|O|cn cf /| ||sc||Ons ffe| c c|O|n ne|| o|sccun. ||e 5cck:e||e/ w: www.neccc|se||e|.ccn 5cck:e|||og F::eo||c|: w: www.ccc|se||e|s.c|g.u| !e|e Scuffe| D|enn, 5cck:e|||og |c/ Dumm|e:, Jcnn w||ey & Scns |o., 2005 ||e Ccmc|e|e Ou|Oe |c S|c/||og coO Puoo|og c 5cck:|cc, !ne Bcc|se||e|s /sscc|O|cn, 2003 ||e Ouc/O|co w: www.guO|o|On.cc.u| ||e ||me: |||e/c/, Succ|emeo| w: |s.|nescn||ne.cc.u| 40 CARFFRS IN " HISTORY AII8ON kIChMOND Depuy |eOo, RC//\&/ Ccnse|vO|cn, Ccnse|vO|cn DepO|nen, \|cc||O Ono /|ce| Museun C onservation is concerneJ vith the care anJ preservation ol a huge range ol vorks ol artistic anJ historical importance. Conservation involves the unJerstanJing ol materials anJ technology as vell as the historical anJ social signilicance ol these vorks. All vorks ol art anJ artelacts are Jeteriorating, some more quickly than others. The lirst Juty ol the conservator is to slov Jovn the rate ol Jeterioration either by manipulating its environment (preventive conservation) or by intervening in the object itsell. Conservators treat objects, physically anJ chemically, in orJer to preserve them. It is sometimes necessary to restore them to a presumeJ previous state in orJer to lacilitate unJerstanJing. The vork ol conservators enables us to unJerstanJ anJ enjoy our patrimony vhile at the same time ensuring that it vill be preserveJ lor luture generations. Conservators vork in the public interest anJ their activities are therelore governeJ by coJes ol ethics. The roIession The conservation prolession has evolveJ into tvo main groups. one lor moveable cultural property (e.g. museum collections), anJ another lor built heritage. Currently there are moves vithin the prolession to bring these groups together. Conservation prolessionals can be lounJ in museums, in large heritage organisations, such as Fnglish Heritage anJ The National Trust, anJ in private businesses ranging in site lrom single inJiviJuals to a lev vith as many as 3J+J personnel. Vhile tventy years ago museum conservators vere mainly to be lounJ in stuJios, vorkshops anJ laboratories (at the bench), novaJays conservators take their place alongsiJe other museum colleagues in teams vhich plan, prepare anJ 41 execute gallery installations anJ temporary exhibitions, eJucational programmes anJ public events. Many conservators vho are traineJ to vork on objects linJ themselves more anJ more olten Jealing vith people anJ resources. Some leave the stuJio altogether anJ JeJicate themselves to management. Other conservators spenJ most ol their time Jealing vith preventive conservation programmes. Still others have moveJ lrom practical conservation to conservation eJucation. Another group ol conservation prolessionals, conservation scientists, are qualilieJ chemists or physicists vho stuJy anJ aJvise on the materials anJ Jeterioration ol art anJ artelacts. Conservators vorking in private practices may Jo much ol their vork lor the art market, hovever, they may also tenJer lor vork vhich museums anJ other heritage groups contract out. In this vay the interlace betveen the public anJ private sectors is becoming more lluiJ. The knovleJge base ol the prolession is continuously JevelopeJ, conservation research ranges lrom publishing observations maJe Juring treatments to taking part in international research projects, such as those lunJeJ by the Furopean Commission. SeciaIist disciIines Conservation (anJ conservation eJucation) is generally JiviJeJ into areas ol specialitation. These vary across institutions anJ eJucational programmes. There are institutions vhich viev themselves as Jealing, in the main, vith archaeological artelacts (e.g. The British Museum). Others are mainly ethnographical (e.g. The Horniman Museum). Vhile others are JeJicateJ to the line (e.g. The National Gallery) anJ Jecorative arts (e.g. Victoria & Albert Museum). Vithin these are lurther Jivisions ol materials or types ol object. Some ol the main ones are. organic/inorganic, paper, books, paintings, textiles, lurniture, metalvork, etc. In smaller museums or businesses, vhere there may be only one conservator, it may be necessary lor her/him to vork across a range ol materials or object types. Conservation education It is still possible to gain conservation expertise through a perioJ ol apprenticeship anJ this is the case vith some ol the builJing cralts, such as the conservation ol stonevork. Hovever, a course in higher eJucation is nov the prelerreJ route. There is a small number ol BA programmes, but the generally accepteJ qualilication lor entering employment is last becoming an MA. A small number ol courses also oller research Jegrees ol MPhil anJ PhD. Courses usually have both an acaJemic anJ a practical element. They tenJ to be vocational, in that they prepare the stuJent to enter the vorklorce as a practical conservator. Fntry requirements vary enormously anJ it is Jillicult to generalite, each Jiscipline usually has particular skill CARFFRS IN " HISTORY 42 requirements, such as metalvorking or vooJvorking skills. Among the possible prerequisites lor entry to MA courses. a BA in a relevant subject (conservation, art history, archaeology, line art/cralt, physics/chemistry, etc) art/cralt skills, chemistry/physics A level, unJerstanJing anJ experience ol conservation gaineJ through a BA or vork experience are just some ol the possible prerequisites. The lielJ ol conservation is enricheJ by the lact that conservators come lrom many Jillerent backgrounJs anJ conservation is a seconJ career lor many. ProIessionaI accreditation The prolession has recently instituteJ accreJitation baseJ on a set ol stanJarJs as the portal through vhich the lullylleJgeJ prolessional conservator emerges. VorI exerience Vork experience in conservation is a thorny issue. On the one hanJ, it is strongly recommenJeJ belore applying lor a higher Jegree, vhile on the other, it is very Jillicult to get experience il you are not registereJ on a course or Jo not alreaJy have a qualilication. In aJJition, vork experience in the lorm ol an internship is nov consiJereJ by the prolession to be an essential part ol the lormative process. Vork experience ranges lrom inlormal anJ irregular perioJs ol volunteer vork to vellJelineJ internships vhich can last as long as a year. The tasks vill also vary enormously. Nevertheless, people Jo still manage to get experience vorking in conservation Jepartments anJ businesses. Getting a jol The museum market currently takes the lorm ol a mixeJ economy ol permanent anJ shortterm contract posts to enable museums to Jeal vith the continually changing JemanJs ol large projects. Many conservators toJay have to be prepareJ to move lrom one job to the next every lev years. The private sector is equally llexible, vith many businesses hiring stall to Jeal vith projects requiring specilic skills. ]obs in national museums are generally aJvertiseJ in the national press. It is also vorth looking on the vebsites ol the prolessional boJies (s:: Iurther inIormation) anJ in the conservation publications vhich carry classilieJ aJvertising. Iinally, a briel vorJ about pay. A museum employee's pay is JetermineJ by the rules governing public sector spenJing. Research has shovn that museum employees are less vell paiJ than their counterparts in the private sector, anJ that increases in salaries over the past thirty years have only just exceeJeJ inllation. It is not all baJ nevs, hovever. The baseline lor employees starting out on their careers has risen consiJerably over the last CONSFRVATION 43 CARFFRS IN " HISTORY 44 JecaJe or so. Nevertheless, it is probably lair to say that most conservators leel that the benelits ol having Jirect involvement vith real artelacts anJ vorks ol art outveigh many ol the JisaJvantages. )XUWKHULQIRUPDWLRQ Orgon|zot|ons !ne |ns|ue cf Ccnse|vO|cn |ccn} 3 |o ||cc|, Dcwns|eOn Bu||o|ng, 1 |cnocn B||oge, |cnocn SE1 B t: 020 7785 3807 e: nence|sn|p@|ccn.c|g.u| w: www.|ccn.c|g.u| |ccn |s ne p||nc|pO| p|cfess|cnO| ccoy fc| ccnse|vOc|s cf vO||cus spec|O||sns |n ne dK, Ono O |eOo vc|ce fc| ccnse|vO|cn |cccy|ng |n O|| O|eOs. | |s O|sc |espcns|c|e fc| ne nOnOgenen cf p|cfess|cnO| Occ|eo|O|cn. |ne|nO|cnO| Ccunc|| cf Museuns Ccnn|ee fc| Ccnse|vO|cn |CM-CC}. |sOce||e \e|ge|, c/c |CCRM, 13 \|O SOn M|cne|e, 00153, Rcne, |O|y t: 3 0 5855 3410 e: sec|eO||O@|ccn-cc.c|g w: www.|ccn-cc.c|g !ne |CM-CC nc|os ||enn|O| ccnfe|ences Ono p|couces puc||cO|cns. |ne|nO|cnO| Cen|e fc| ne Suoy cf ne P|ese|vO|cn Ono Resc|O|cn cf Cu|u|O| P|cpe|y |CCRM}. 13 \|O o| SOn M|cne|e, 1-00153, Rcne, |O|y t: 3 0 585531 e: |cc|cn@|cc|cn.c|g w: www.|cc|cn.c|g !ne |CCRM |uns snc| ccu|ses Ono p|couces O |O|n|ng o||ecc|y wn|cn ||ss ccnse|vO|cn ccu|ses f|cn O|cuno ne wc||o. !ne |ne|nO|cnO| |ns|ue fc| Ccnse|vO|cn cf ||sc||c Ono /||s|c wc||s ||C}, Buc||ngnOn S, |cnocn wC2N B/ t: 020 783 575 e: ||c@||ccnse|vO|cn.c|g w: www.||ccnse|vO|cn.c|g !ne ||C nOs ceen esOc||sneo fc| cve| 50 yeO|s, Ono |s O nO,c| |ne|nO|cnO| ccoy fc| p|Oc|s|ng ccnse|vOc|s. MOny ccnse|vOc|s |n ne dK w||| nO|nO|n ccn ||C Ono |ccn nence|sn|p. !ne ||C nc|os c|enn|O| ccnfe|ences Ono p|couces puc||cO|cns. !ne ey Ccnse|vO|cn |ns|ue C|} 1200 ey Cene| D||ve, Su|e 700, |cs /nge|es, C/ 004-184 t: 310} 440 7325 e: gc|wec@gey.eou w: www.gey.eou/ccnse|vO|cn !ne C| |s On cusOno|ng |escu|ce fc| ccnse|vO|cn eoucO|cn Ono |eseO|cn. Ccnse|vO|cn n||ne Cc|} |s O fu||-ex oOOcOse cf ccnse|vO|cn |nfc|nO|cn. w: pO||npses.sOnfc|o.eou P|cfess|cnO| /cc|eo|O|cn cf Ccnse|vOc|-Resc|e|s P/CR}. t: 012 824510 e: susOn.c|OosnOw@pOc|.c|g.u| w: www.pOc|.c|g.u| CONSFRVATION 45 CARFFRS IN " HISTORY 4 Courses !|O|n|ng |n Ccnse|vO|cn: / B||ef u|oe c |u||-!|ne Ccu|ses |n ne dn|eo K|ngocn /vO||Oc|e cn ne |ccn wecs|e c||c| cn EoucO|cn Ono !|O|n|ng}. 8ooks Cn||s COp|e, Cco:e/.c||co Sk|||:. JuOgemeo|. |e||cO. Dec|:|co-|ck|og, |cnocn: Rcu|eoge, 2000 N|cnc|Os SOn|ey P||ce, e| c|., |:|c/|cc| coO ||||c:cc||cc| |::ue: |o ||e Cco:e/.c||co c| Cu||u/c| e/||cge, |cs /nge|es: J. POu| ey !|us, 1 E||zOcen Pye, Cc/|og |c/ ||e |c:|. |::ue: |o Cco:e/.c||co |c/ A/c|cec|cg, coO |u:eum:, |cnocn: JOnes & JOnes, 2000
Full-tlme Dlploma Programme avallable Conservation-Restoration of: CERAMlC5 AND RELATED MATERlAL5 BOOK5 AND LlBRARY MATERlAL5 FlNE METALWORK YDOLGDWHGE\WKH8QLYHUVLW\RI6XVVH[ Tbe programme alms to develop students' practlcal skllls tbrougb contetual studles, speclallst lectures, demonstratlons and vlslts. Tbe small group o| students allows |or blgb levels o| personal tultlon |rom practlslng pro|esslonals. Students work on objects o| blstorlcal lmportance |rom museums and prlvate collectlons. 6RPHEXUVDULHVDYDLODEOH For tbe dlploma prospectus please contact. Tbe Admlsslons O||lce, West Dean College, West Dean, Cblcbester, West Susse, PO18 0QZ. T 01243 818299 E dlplomas@westdean.org.uk www.westdean.org.uk Ceramics and GIass J0ANIIA NAAkkO Sen|c| Ccnse|vOc|, Scu|pu|e, MeO|s, Ce|On|cs Ono |Oss Ccnse|vO|cn Sec|cn, \|cc||O Ono /|ce| Museun 47 C eramics anJ glass conservation anJ restoration generally relers to line Jecorative ceramic anJ vessel glass, antiques anJ collectables. The specialitation also incluJes. archaeological material anJ antiquities, staineJ glass (vinJovs anJ art vorks), ceramic sculptures, architectural schemes incluJing terracotta, tiles, chanJeliers anJ mirrors, colJpainteJ ceramics (rather than glateJ through liring) anJ enamels on metal. In aJJition, ceramics anJ glass are olten lounJ as components ol lurniture, textiles, metals, anJ together vith other materials. Conservation incluJes all activities JirecteJ at ensuring the survival anJ preservation ol the objects. Restoration implies vork not essential to the survival ol the object. Both aspects ol the vork are baseJ on ethical Jecisions anJ proceJures using reversible treatments anJ materials vhenever possible. People arrive at conservation lrom a variety ol backgrounJs, olten artistic, but also acaJemic anJ business. These Jays there is much more to conservation than bench vork. Nevertheless, the hanJson practising conservator neeJs patience anJ an eye lor Jetail, gooJ colour vision, manual Jexterity anJ an ability to plan anJ carry out complex anJ Jelicate proceJures. Conservation science is an intrinsic part ol all conservation, incluJing the areas ol preservation anJ prevention. All conservation vork shoulJ be lully JocumenteJ, gooJ vriting skills are therelore essential. Ceramics anJ glass conservators vork lor the private sector (antiques Jealers, private inJiviJuals) or the public sector (museums, The National Trust, etc). The vork olten requires the reconstruction ol a broken object by bonJing, using a variety ol materials to lill gaps, moJelling missing parts, anJ retouching the lills vith colJ paints. Hovever, conservators are also requireJ to renev JeteriorateJ previous restorations. some aJhesives eventually lose their strength anJ cannot holJ the veight ol the object, the materials useJ to lill gaps in glass become yelloveJ anJ unsightly, paint materials useJ to retouch lills in ceramics eventually Jiscolour so baJly that they become aesthetically Jistracting. There are other interesting aspects lor conservators to explore. Fxamples incluJe research carrieJ out by conservation scientists, such as testing the ageing characteristics ol conservation materials, interJisciplinary projects betveen conservators, chemists anJ materials scientists, anJ collections management. Large museums have conservation Jepartments vhere conservators are able to specialite in one Jiscipline, such as ceramics anJ glass. Small museums may employ a conservator vith a multiJisciplinary knovleJge base or senJ vork out to private conservators. Positions in museums are lev although courses may incluJe a placement in a museum as part ol the course. Other alternatives lor conservators are to linJ employment in an establisheJ private vorkshop or to set up a vorkshop on their ovn or in partnership vith colleagues. Courses vary in length, sometimes accorJing to previous experience. Tvo or three years ol lulltime stuJy is usual. Course Jescriptions have clear outlines ol their content anJ emphasis, vhether acaJemic or practical, specialiteJ or multiJisciplinary, it is up to the prospective stuJents to be clear about their ovn neeJs. )XUWKHULQIRUPDWLRQ Courses wes DeOn Cc||ege, wes DeOn, Cn|cnese|, wes Sussex P18 0Z t: 01243 811301 e: o|p|cnOs@wesoeOn.c|g.u| w: www.wesoeOn.c|g.u| wes DeOn Cc||ege cffe|s nOny pcsg|OouOe ccnse|vO|cn Ono |esc|O|cn ccu|ses, ccn spec|O||zeo ce|On|cs, ccc|s, On|que fu|n|u|e, c|cc|s, ec} Ono gene|O| O M/ |n Ccnse|vO|cn Suo|es}. De Mcnfc| dn|ve|s|y, Suoen Rec|u|nen, |Ocu|y cf /| & Des|gn, De Mcnfc| dn|ve|s|y, !ne OewOy, |e|cese| |E1 B| t: 011 257 7555 e: O|Onooes|gn@onu.Oc.u| w: www.onu.Oc.u|/fOcu||es/O|Onooes|gn B/ |cns} Des|gn C|Ofs CARFFRS IN " HISTORY 48 !ne RcyO| Cc||ege cf /|, Kens|ngcn c|e, |cnocn Sw7 2Ed t: 020 750 4444 e: Oon|ss|cns@|cO.c|g.u| w: www.|cO.Oc.u| RcyO| Cc||ege cf /|/\|cc||O Ono /|ce| Museun M/ Ccnse|vO|cn !ne |ns|ue cf /|cnOec|cgy, dn|ve|s|y Cc||ege |cnocn, 3134 c|ocn SquO|e, |cnocn wC1| PY t: 020 77 745 w: www.uc|.Oc.u|/O|cnOec|cgy M/ |n P||nc|p|es cf Ccnse|vO|cn. MSc |n Ccnse|vO|cn fc| /|cnOec|cgy Ono Museuns |c| nc|e ccu|ses cn ccnse|vO|cn, :ee c|:c )XUWKHULQIRUPDWLRQ&RXUVHV |n Conservot|on: An Overv|ew cnOpe|, p.4.} 8ooks SusOn Buys Ono \|cc||O O||ey, Cco:e/.c||co coO Pe:|c/c||co c| Ce/cm|c:, |cnocn: Bue|wc|n-|e|nenOnn, 1 Rcy Newcn Ono SOno|O DOv|scn, Cco:e/.c||co c| O|c::, |cnocn: Bue|wc|ns, 18 SOno|O DOv|scn, Cco:e/.c||co coO Pe:|c/c||co c| O|c::, 2no eo||cn, |cnocn: Bue|wc|n-|e|nenOnn, 2003. !n|s ccc|, O new eo||cn cf ne p|eceo|ng ||e, |s, |n scne senses, |ess ccnp|ee. |c| exOnp|e, ne sec|cn cn sO|neo g|Oss nOs ceen |encveo. !nus, O|ncugn ne f||s eo||cn |s cu-cf- p||n Ono ne|efc|e o|ff|cu| c ccO|n} | |enO|ns On ex|ene|y usefu| ex. CONSFRVATION 4 DAID CkOM8IF Sen|c| PO|n|ngs Ccnse|vOc|, !ne Ccnse|vO|cn Cen|e, NO|cnO| Museuns ||ve|pcc| I nJiviJuals entering this lielJ ol the conservation prolession vill unJertake the practical conservation anJ restoration ol a viJe range ol easel paintings ol all types in both public anJ private collections. They vill be vorking to ensure the proper care ol a painting, JeciJing on appropriate treatment vhere neeJeJ anJ securing, as lar as possible, its preservation lor luture generations. A career in painting conservation can be extremely revarJing, anJ an experienceJ conservator may carry out practical vork anJ research on important vorks ol art in a major collection. The range ol skills neeJeJ by the conservator is broaJ anJ an inJiviJual vill be requireJ to embrace practical, theoretical, aesthetic anJ ethical issues in combination. To list a lev key elements, the vork requires a very high level ol manual skill, a sounJ unJerstanJing ol the backgrounJ to the materials anJ techniques ol painting, an aptituJe lor problem solving anJ an acute perception ol the aesthetics ol a painting surlace. KnovleJge ol material sciences, incluJing physics anJ chemistry, is also requireJ. Accurate colour vision is essential. ol roIiIe As a paintings conservator, one ol the main motivations is the satislaction ol the unique personal contribution to the improveJ conJition anJ luture survival ol a vork ol art. The painting is literally in the conservator's hanJs, anJ her/his vork, employing the requireJ range ol practical anJ acaJemic skills, enables the painting to be seen anJ unJerstooJ to its best possible aJvantage. The conservator vill usually be responsible lor all stages ol treatment to a painting, vhich may incluJe structural vork anJ 50 consoliJation ol loose or llaking paint, varnish anJ Jirt removal lrom the painting, anJ the inpainting ol losses anJ application ol varnishes. The conservator may also unJertake research on a number ol Jillerent aspects ol a painting, vhich can be just as revarJing as the practical treatment siJe. This coulJ be to iJentily the pigments anJ meJia employeJ by the artist, or to linJ out more about the Jevelopment ol the composition ol the image through examination by xraJiography or inlrareJ rellectography. This research may contribute greatly to an unJerstanJing ol the art historical context ol the vork anJ may be incluJeJ in publications or exhibition material relating to a particular vork or artist. (It is lair to say that the opportunities lor such research are probably greater in the public than the private sector some ol the inlormation in the training course vebsites listeJ belov covers aspects ol the scope ol vork in both areas in a little more Jetail.) In the public sector, a conservator's Juties vill usually extenJ beyonJ the practical treatment ol paintings to incluJe collections storage issues, responsibility lor specilying anJ managing environmental control in Jisplay galleries anJ the processing ol outgoing anJ incoming loans ol paintings betveen institutions. Vith more experience, the conservator may be able to Jevise nev proceJures or improveJ systems in these areas in collaboration vith other museum anJ gallery prolessionals. Career oortunities It voulJ be unrealistic to approach this career vithout the clear unJerstanJing that there are lever jobs than there are traineJ painting conservators, anJ that the jobs that Jo exist are usually at the lover levels ol public sector pay across the UK. Positions in public collections Jo arise occasionally, although these may only be shortterm contract posts, rather than permanent positions. Fven in lulltime posts in the public sector, career anJ pay progression can be painlully slov or nonexistent. The broaJer pattern ol employment in public collections has changeJ signilicantly over the last lilteen or so years, vith many institutions seeing a reJuction in the number ol lulltime stall. Vhat has emergeJ in some cases is a culture ol conservation provision, il there is any, being contracteJ out to private conservators. There are some opportunities in the private sector, partly lor the reason stateJ above, though any jobs may be lev in number each year, anJ as vith public sector vacancies, competition lor positions (normally vith establisheJ private conservators) vill be intense. There is the option ol starting out inJepenJently as a sellemployeJ painting conservator in the CONSFRVATION 51 private sector, but this is a very Jillicult path to lollov. In aJJition to a stuJio anJ equipment, a conservator neeJs clients, anJ many private painting conservators vill attest to the lact that it can take up to ten years to Jevelop a suitable client base. )XUWKHULQIRUPDWLRQ Job odvert|sements Pec/u||meo| JcOc|e |eOf|e |ssueo w|n |C| |ew:. !n|s |s O|sc OvO||Oc|e cn||ne www.|ccn.c|g.u|} c nence|s. ||C 5u||e||o, puc||sneo cy ne |ne|nO|cnO| |ns|ue fc| Ccnse|vO|cn cf ||sc||c Ono /||s|c wc||s. !n|s |s puc||sneo s|x |nes O yeO|, Ono |ssueo f|ee c nence|s. ||e Ouc/O|co w: ,ccs.guO|o|On.cc.u| Orgon|zot|ons |ccn, ne |ns|ue fc| Ccnse|vO|cn See p. 45 fc| fu|| ccnOc oeO||s}. |ccn nOs O nunce| cf spec|O||s g|cups, ne PO|n|ngs |cup cOe|s fc| nence|s wc|||ng |n n|s f|e|o. !ne |ne|nO|cnO| |ns|ue fc| Ccnse|vO|cn cf ||sc||c Ono /||s|c wc||s, ||C}. See p. 45 fc| fu|| ccnOc oeO||s}. B|||sn /sscc|O|cn cf PO|n|ngs Ccnse|vOc|-Resc|e|s B/PCR}. Sec|eO|y, B/PCR, P Bcx 32, |Oy||ng |s|Ono P11 wE t: 023 24 5115 e: sec|eO|y@cOpc|.c|g.u| w: www.cOpc|.c|g.u| Courses !ne|e O|e n|ee pO|n|ng ccnse|vO|cn |O|n|ng ccu|ses |n ne dK, Ono O|| O|e pcsg|OouOe O p|esen. !ne ype cf oeg|ee quO||f|cO|cn |equ||eo nOy vO|y ceween eOcn ccu|se Ono | |s ces c cnec| eOcn cne fc| spec|f|c oeO||s. / ||n|eo nunce| cf suoens |s Occepeo |n eOcn. Ccu|Ou|o |ns|ue cf /|, Scne|se |cuse, S|Ono, |cnocn wC2R 0RN t: 020 7848 2777 e: pgOon|ss|cns@ccu|Ou|o.Oc.u| w: www.ccu|Ou|o.Oc.u| Pcsg|OouOe D|p|cnO |n ne Ccnse|vO|cn cf EOse| PO|n|ngs ou|O|cn: n|ee yeO|s}. M/ |n PO|n|ng Ccnse|vO|cn wO|| PO|n|ng} ou|O|cn: n|ee yeO|s}. |On||cn-Ke|| |ns|ue, COnc||oge dn|ve|s|y, wn||esfc|o, COnc||oge CB2 4NE t: 01223 832040 e: n||-Oon|n@||ss.cOn.Oc.u| w: www-n||.f|znuseun.cOn.Oc.u| D|p|cnO |n ne Ccnse|vO|cn cf EOse| PO|n|ngs ou|O|cn: n|ee yeO|s}. !ne CARFFRS IN " HISTORY 52 |ns|ue O|sc cffe|s OovOnceo |ne|nsn|ps fc| ccnse|vOc|s wnc nOve ccnp|eeo O pcsg|OouOe pO|n|ng ccnse|vO|cn |O|n|ng ccu|se. dn|ve|s|y cf Nc|nunc||O O NewcOs|e, E|||scn P|Oce, NewcOs|e upcn !yne NE1 8S! t: 011 232 002 e: e|.Oon|ss|cns@nc|nunc||O.Oc.u| w: www.nc|nunc||O.Oc.u| M/ Ccnse|vO|cn cf ||ne /| ou|O|cn: wc yeO|s}. |c| nc|e ccu|ses cn ccnse|vO|cn, :ee c|:c )XUWKHULQIRUPDWLRQ&RXUVHV |n Conservot|on: An Overv|ew cnOpe|, p.4.} CONSFRVATION 53 P aper conservation can be JiviJeJ betveen the conservation ol books anJ Jocuments anJ that ol vorks ol art on paper, the latter incluJing prints, Jravings, vatercolours, vall papers, posters, collage, etc. In large public collections Asian anJ occiJental vorks ol art on paper may be treateJ by those vith similar training, but vorking in Jillerent stuJios appropriate to the type ol treatments being carrieJ out. Conservators ol vorks ol art on paper come lrom quite Jiverse backgrounJs anJ may have alreaJy haJ another career prior to embarking on specilic conservation training. There are specialist paper conservation courses at unJergraJuate anJ graJuate levels. An unJergraJuate qualilication in paper conservation or an associateJ specialism is usually a prerequisite lor entry to graJuate courses in this lielJ. GraJuates in art history, line arts or sciences are particularly velcomeJ, especially vhen they possess gooJ problem solving abilities, a linely tuneJ aesthetic sensibility anJ accurate colour vision. Hovever, acaJemic learning neeJs to be combineJ vith manual Jexterity anJ a sensitivity to the artists' original intent. Paper conservation requires a particularly thoughtlul anJ systematic approach coupleJ vith a high Jegree ol manual Jexterity anJ a great Jeal ol patience. Successlul paper conservation treatments olten combine interventive action such as surlace cleaning, vashing, repair anJ loss compensation vith more preventive measures such as improveJ methoJs ol mounting, lraming, storage anJ Jisplay. Unlike the conservation ol paintings a vork ol art on paper may not appear to be raJically changeJ in appearance as a result ol treatment, as in most cases there are no surlace MIkF WhFFIFk Sen|c| POpe| Ccnse|vOc|, \|cc||O Ono /|ce| Museun 54 layers such as JiscoloureJ varnish to remove. Vhenever possible, the paper conservator tries to keep the bigger picture in minJ anJ concentrates on stabiliting the object as vell as trying to improve its appearance. Conservators vorking lor public institutions have a slightly Jillerent role to play than those vho are sell employeJ or are vorking lor commercial galleries anJ Jealers. The lormer are olten locuseJ on both exhibition vork as vell as collections management issues. SellemployeJ paper conservators olten have to Jevote more energy to improving the appearance ol the vork anJ have to treaJ carelully to ensure that sounJ ethical principals prevail. This vill involve carelul liaison vith clients to ensure that vork is completeJ on time anJ vithin a given estimate. The paper conservator in an institution may spenJ a gooJ Jeal ol time preparing objects lor loan or internal exhibition, as vell as vorking on the core collections. S/he vorks together vith conservation mounters anJ lramers anJ liaises lrequently vith curatorial colleagues. In a museum, maintaining the authenticity ol the material olten takes preceJence over cosmetic consiJerations. Institutional conservators may also be engageJ on research into the materials anJ techniques ol vhich vorks ol art on paper are composeJ, as vell as contributing to publications anJ preparing JiJactic panels lor Jisplays. At present the employment situation in the UK anJ Furope is lairly static anJ the numbers ol jobs in museums anJ public institutions are limiteJ. UnJer the current political climate money lor the arts is strictly limiteJ anJ nev positions only occur inlrequently. The small number ol jobs at a senior level make career progression quite Jillicult anJ this may account lor the increasing number ol senior people Jiversilying into heritage anJ collection management jobs. Hovever, there is a huge neeJ lor paper conservation expertise all over the vorlJ anJ there is consiJerable scope lor those vho enjoy travelling anJ vorking in Jeveloping countries. The linancial revarJs are moJest, but this is olten balanceJ by the pleasure gaineJ lrom the vork itsell, improving public access, sharing expertise anJ helping to ensure longevity ol signilicant artelacts.
CONSFRVATION 55 )XUWKHULQIRUPDWLRQ Courses |cnocn |ns|ue COnce|we|| Cc||ege cf /|s}, Pec|nOn Ro, |cnocn SE5 8d| t: 020 7514 302 e: enqu|||es@cOnce|we||.O|s.Oc.u| w: www.cOnce|we||.O|s.Oc.u| B/ |cns} Ccnse|vO|cn. M/ Ccnse|vO|cn dn|ve|s|y cf Nc|nunc||O O NewcOs|e,.E|||scn P|Oce, NewcOs|e upcn !yne NE1 8S! t: 011 227 3250 e: O|.Oon|ss|cns@nc|nunc||O.Oc.u| w: nc|nunc||O.Oc.u| M/ Ccnse|vO|cn cf ||ne /| RcyO| Cc||ege cf /|, Kens|ngcn c|e, |cnocn Sw7 2Ed t: 020 750 4444 e: Oon|ss|cns@|cO.Oc.u| w: www.|cO.Oc.u| RcyO| Cc||ege cf /|/\|cc||O Ono /|ce| Museun M/ Ccnse|vO|cn |c| nc|e ccu|ses cn ccnse|vO|cn, :ee c|:c )XUWKHULQIRUPDWLRQ&RXUVHV |n Conservot|on: An Overv|ew cnOpe|, p.4.} CARFFRS IN " HISTORY 5 TextiIes MAkY 8kOOk8 (15) Ccnvenc|, M/ Museun Suo|es, !ex||e Ccnse|vO|cn Cen|e, dn|ve|s|y cf ScunOnpcn 0FDAIFD 8Y FkANCF8 IFNNAkD (2006) Ccnvenc| M/ !ex||e Ccnse|vO|cn, !ex||e Ccnse|vO|cn Cen|e, dn|ve|s|y cf ScunOnpcn T extile conservation is a multiJisciplinary lielJ. It combines scientilic analysis, a knovleJge ol textile history anJ techniques, ranging lrom tapestry to moJern libres, vith the practical skills necessary to carry out conservation treatments. RemeJial treatment typically involves cleaning, lolloveJ by proviJing a veak textile vith a nev support either by stitching or through an aJhesive treatment. RecommenJations lor noninterventive treatment are an important aspect ol a textile conservator's vork. The right environment, vhether in storage or on Jisplay, is critical vhen caring lor textiles. Textile conservators vork in both the public anJ private sectors. IunJing is increasingly tight, anJ a substantial proportion ol careerentry jobs are nov baseJ on short contracts. Hovever, textile conservation ollers a lascinating combination ol analytical problemsolving anJ hanJson vork as vell as the chance to extenJ anJ Jevelop knovleJge ol our rich textile heritage. Careerentry programmes are at MA level although it may be possible to linJ an apprenticetype position in an existing vorkshop.
57 58 CARFFRS IN " HISTORY )XUWKHULQIRUPDWLRQ Orgon|zot|on !ne |ns|ue cf Ccnse|vO|cn |ccn}. |c| ccnOc oeO||s, see p. 45. Courses !ne !ex||e Ccnse|vO|cn Cen|e, w|ncnese| Scncc| cf /|, dn|ve|s|y cf ScunOnpcn, PO|| /venue, w|ncnese|, |Onpsn||e S23 8D| t: 023 805 00 e: Os|wsO@sccn.Oc.u| w: www.ex||eccnse|vO|cncen|e.sccn.Oc.u| !ne !ex||e Ccnse|vO|cn Cen|e cffe|s O wc-yeO| M/ p|cg|Onne |n !ex||e Ccnse|vO|cn. /pp||cOns sncu|o nOve O gcco f||s oeg|ee, p|cven nOnuO| oexe||y, nc|nO| cc|cu| v|s|cn Ono O quO||f|cO|cn |n cnen|s|y O |eOs c CSE sOnoO|o, O|ncugn expe||ence cf ex||e ccnse|vO|cn |s nc essen|O|, | |s On OovOnOge. Scne cu|sO||es O|e OvO||Oc|e. |c| nc|e ccu|ses cn ccnse|vO|cn, :ee c|:c |u/||e/ |o|c/mc||co. Ccu/:e: |n Ccnse|vO|cn: /n ve|v|ew cnOpe|.} 8ooks M.M. B|cc|s, C. C|O||, D. EOscp Ono C. Pescne|, Resc|O|cn Ono Ccnse|vO|cn: |ssues fc| ex||e ccnse|vOc|s |n w./. ooy, eo, Pe:|c/c||co. |: || Accec|cc|e?, ccOs|cnO| POpe| , B|||sn Museun P|ess, 14, 10322 /||scn ||se| Ono /. J. Rcwe, ||ooen MeOn|ngs. !ne Reve|O|cns cf Ccnse|vO|cn |n MO|y M. B|cc|s, eo, |e\|||e: Pe.ec|eO. c/ec| |e::co: |o |:|c/|c |e\|||e coO Cc:|ume Pe:ec/c|, |cnocn: /|cneype Puc||cO|cns, 108 CONSFRVATION 5 FIFANOk IOIIFkFF Cu|Oc| cf |u|n|u|e, !ne wO||Oce Cc||ec|cn T he Jecorative arts can be a neglecteJ area ol stuJy at Jegree level anJ only a lev stuJents vho go on to pursue one ol the MA courses in the history ol Jesign, such as that ollereJ by the V&A vith the Royal College ol Art, tenJ to locus on lurniture lor their Jissertations. Although lurniture remains central to the Jesign, Jecoration anJ lunction ol interior space, anJ architects, sculptors anJ textile Jesigners have traJitionally been closely involveJ vith lurniture Jesign, lurniture anJ the Jecorative arts in general continue to be overlookeJ as a subject lor stuJy at Jegree level. Therelore vhilst there is no conventional route to becoming a lurniture curator the career path can be varieJ, interesting anJ lullilling. One ol my lirst museum experiences vas vorking as a sixthlorm volunteer at the Museum ol LonJon. Later, vhile stuJying Classics at university, I vent on an exchange to Siena, took part in an architectural lielJ survey in Greece anJ vorkeJ as a volunteer in an architect's practice in LonJon, all ol vhich maJe me keen to vork vith the visual arts. A natural progression vas to go to the CourtaulJ Institute ol Art to stuJy ancient art, here I became interesteJ in later perioJs, particularly the reception ol classical art anJ architecture in the late I8th anJ early I9th centuries. Alter vorking as an intern in the Decorative Arts Department at Christie's, South Kensington, I began a PhD at the University ol Bristol. During this time, I vas accepteJ lor the Assistant Curators' Training Scheme at the V&A (a liveyear, lixeJ term contract). Although the Jocumentation vork I unJertook in the initial stages vas routine, it proviJeJ an excellent grounJing in museum practice anJ enableJ me to gain experience in various Jepartments. I negotiateJ unpaiJ leave in orJer to complete my Joctorate, vhen I returneJ I vas 0 placeJ on the Victorian Team ol the British Galleries Project. It vas excellent experience to vork as part ol a large team on a major museum project. Iolloving this I vorkeJ in the Sculpture Department, unJertaking more JaytoJay curatorial activities such as managing stores, checking galleries, maintaining Jocumentation anJ Jealing vith enquiries. Alter nearly live years at the V&A, I lelt to take up the position ol Curator ol Iurniture at the Vallace Collection. I have nov been at the Vallace Collection lor over tvo years, but I still have an enormous amount to learn about the lurniture collection vhich comprises more than 5JJ vorks ol art. Vorking Jirectly vith objects, caring lor the collection, curating Jisplays (most recently, a small Jisplay on MarieAntoinette's lurnishings), unJertaking research, giving gallery talks anJ lectures to Jillerent auJiences anJ teaching on tvo MA courses that are linkeJ to the collection is very stimulating. There is no quick or Jirect route into a museum job, but here are a lev tips. i Iurniture history, vhich uses Jocumentary anJ other eviJence to trace the Jesign, proJuction anJ subsequent history ol items, is still a relatively nev subject. The Iurniture History Society, runs a series ol events anJ publishes a nevsletter anJ an annual journal. i You can linJ out more about lurniture in LonJon at the V&A, the Gellrye Museum, the Vallace Collection anJ the IreJerick Parker Chair Collection at LonJon Metropolitan University. Many regional museums have gooJ collections ol lurniture, as Jo properties run by the National Trust, Fnglish Heritage anJ other organitations. Visit the V&A Print Room anJ the Royal Institute ol British Architects (RIBA) ReaJing Room (also at the V&A) to look at Jesigns lor lurniture anJ interiors. The ChippenJale Society, baseJ at Temple Nevsam House near LeeJs, has a lantastic archival collection. i Get as much voluntary experience as you can. This is an extremely gooJ vay ol learning about Jillerent job roles anJ vork environments. Take a look at the range ol publisheJ material on museology anJ museum practice. Remember that universities recruiting lor MA courses in Museum StuJies olten look lor voluntary vork experience as eviJence ol commitment. i Most museums require you to have unJertaken an MA, especially lor curatorial roles. Although research skills can be learnt on the job, it is helplul to have an establisheJ area ol research anJ to have haJ some experience ol giving presentations. CURATING 1 i Vhen JeciJing on an MA or PhD course, think very carelully about vhere the subject coulJ leaJ you, especially il it is not a vocational Museums StuJies course. Try to remain reasonably openminJeJ vhen applying lor curatorial jobs as it is important to get that vital lirst experience. It can be useJ as a steppingstone to specialitation. i ]oin societies that relate to your lielJ ol interest, as they organite lectures anJ trips anJ proviJe a gooJ netvork ol contacts. i Vrite articles or short pieces lor society nevsletters, or revievs ol visits or book revievs. i Giving gallery talks is a gooJ vay to expanJ your knovleJge anJ gain conliJence. You can register as a lecturer vith the National Association ol Decorative & Iine Art Societies (NADIAS) (s:: Iurther inIormation). i Fnrol to Jo the Associateship ol the Museums Association (AMA) course. There are tvo routes, JepenJing on the MA you have unJertaken il you haven't Jone an MA in Museum StuJies you vill require an NVQ in Cultural Heritage. )XUWKHULQIRUPDWLRQ Orgon|zot|ons !ne |u|n|u|e ||sc|y Scc|ey. CcnOc D| B||On /usen, 1 Me|ceoes CcOge, S Jcnn's Ro, |OywO|os |eOn, Sussex R|1 4E| t: 01444 413845 e: fu|n|u|en|sc|yscc|ey@ncnO||.ccn w: www.fu|n|u|en|sc|yscc|ey.ccn Museuns /sscc|O|cn, 24 CO|v|n S, |cnocn E1 Nw t: 020 742 10 w: www.nuseunsOsscc|O|cn.c|g NO|cnO| /sscc|O|cn cf Decc|O|ve & ||ne /| Scc|e|es N/D|/S}, 8 u||fc|o S, |cnocn wC1N 1D/ t: 020 7430 0730 e: Enqu|||es@nOofOs.c|g.u| w: www.nOofOs.c|g.u| !ne wO||Oce Cc||ec|cn, |e|fc|o |cuse, MOncnese| SquO|e, |cnocn w1d 3BN t: 020 753 500 e: enqu|||es@wO||Ocecc||ec|cn.c|g w: www.wO||Ocecc||ec|cn.c|g 8ooks/Journo|s ||e |c||coc| |/u:| |couc| c| cu:ekeec|og. ||e Cc/e c| Cc||ec||co: |o |:|c/|c cu:e: ceo |c ||e |uc||c, Bue|wc|n-|e|nenOnn, 2005 |u:eum: Jcu/oc| fc| nc|e oeO||s, :ee www.nuseunsOsscc|O|cn.c|g} CARFFRS IN " HISTORY 2 MAY kFDFFkN |eOo cf Cc||ec|cns, |eO|n|ng & /ccess, |O|ewcco |cuse !|us A n historic builJing may be broaJly JescribeJ as anything ol architectural or historical merit through longevity or association. It might be a country house, a private home, or a castle. Many specialists can be lounJ vorking in an historic builJing. Their roles incluJe eJucation, conservation, exhibition vork, security, accountancy, lunJraising, estate management, auctioneering, Jealing, garJening, builJings management, technical vork, volunteer management, leaJership, housekeeping, retail, events management, marketing, Jesign anJ collections care. Vorking in an historic builJing can oller a vealth ol opportunities. a beautilul vorking environment, international travel, vorking vith vorlJ class collections, lurthering research anJ engaging vith visitors anJ local communities. The vork can also be creative anJ lullilling. Hovever, sites can be remote vith no public transport. Iamilies vho retain ovnership or partovnership ol the builJing anJ/or collection vill ultimately Jictate policy anJ mission. Large national organitations such as the National Trust anJ Fnglish Heritage, even il run at a regional level, can be slov to implement necessary change. An historic site can be any number ol Jillerent things to its users, JepenJing on their neeJs anJ expectations. Ior example, HarevooJ House in Yorkshire is a country house, a registereJ museum, a library anJ an archive. It has a too anJ avarJvinning garJens vithin a JesigneJ lanJscape, vhich contains scheJuleJ ancient monuments. It is also a vorking estate. Ior those that choose to pursue art history in the historic house, perhaps the most obvious path to lollov is that ol curatorship. A curator is responsible 3 4 lor a collection. There are generally tvo vays to commence this sort ol vork. One is to start at the bottom anJ vork up. The seconJ is to start at a higher level through a postgraJuate qualilication. My ovn career path is outlineJ belov, in orJer to oller practical aJvice in terms ol linJing employment vithin this competitive lielJ. Case study I starteJ vith an unJergraJuate Jegree in Iine Arts Valuation at Southampton Institute. Part ol the appeal ol this course vas the combination ol history ol art anJ business ollereJ. It also useJ a large hanJling collection anJ incorporateJ a series ol national anJ international visits to various collections. Irom here I vent to The VorJsvorth Trust, in Cumbria, because they ollereJ voluntary vork specilically lor graJuates. Although I began vorking on a voluntary basis I vas soon employeJ as a MoJern Apprentice. This vas a government scheme proviJing basic lunJing in return lor training ol young people, proviJing them vith a set ol core skills in orJer to improve employability. This meant that I haJ the opportunity to vork tovarJs an NVQ in Collections Care anJ Visitor Services. This scheme proviJeJ me vith a moJest income, time to learn anJ a route into the vorlJ ol cultural heritage management. It also gave me a stable environment, meJiumterm security, accommoJation anJ a group ol peers to vork vith anJ learn lrom. I vas given time to explore several Jillerent types ol vork relating to cultural heritage. Ve vere also instilleJ vith the importance ol prolessionalism vithin all aspects ol our vork. CoupleJ vith a specialism, each MoJern Apprentice anJ volunteer unJertook lrontolhouse Juties, incluJing several Jaily guiJeJ tours ol Dove Cottage, shop anJ ticket sales. To supplement my income I also cleaneJ the museum alter hours. This gave me a key grounJing in the neeJs anJ expectations ol visitors anJ care ol collections. The average time ol employment unJer the MoJern Apprenticeship vas I8 months to tvo years, so job applications vere openly encourageJ anJ vas part ol the NVQ process. By this time I haJ JeciJeJ on a museum career, having brielly been seconJeJ to a BonJ Street auction house, again as part ol my NVQ. A key element ol the leeJback I sought lrom various job applications vas that a postgraJuate qualilication vas essential il I vanteJ to pursue curatorial vork. The VorJsvorth Trust proviJeJ a uselul set ol resources on all relevant courses nationviJe anJ haJ a traJition ol stall attenJing the University ol Leicester's MA course in Museum StuJies. CARFFRS IN " HISTORY 5 The course incorporateJ a tvomonth placement at Temple Nevsam anJ Lotherton Hall, tvo country houses manageJ by LeeJs Museums Service. This placement vas an asset to my CV. It also proviJeJ me vith relerences lrom vithin the sector. One ol the negative aspects ol this sort ol vork is the neeJ to move to vherever vork can be lounJ. CoupleJ vith shortterm contracts anJ lov pay, it can take time to become establisheJ in the lielJ. Recogniting this neeJ to be mobile, I moveJ to CambriJgeshire alter my postgraJuate Jegree to vork at The IarmlanJ Museum anJ Denny Abbey as Assistant Curator lor tvo years. This vork gave me a valuable insight into a variety ol practices, as the only lulltime member ol stall I vas responsible lor Jaily site management. I also useJ this time to gain my Associateship ol the Museums Association (AMA). Irom here I moveJ to the Iittvilliam Museum in CambriJge as a Research Assistant belore moving up to Yorkshire anJ HarevooJ House. It vas only vhen I vas employeJ at HarevooJ that I vas employeJ on a permanent contract. IixeJ shortterm contracts are common in the sector. Therelore, there is a neeJ lor the inJiviJual to builJ a 'portlolio career'. Many curators in historic houses consiJer their positions as 'jobs lor lile', so openings can be lev anJ lar betveen anJ closely guarJeJ. Regional collections anJ properties tenJ to value breaJth ol experience anJ expertise in visitor services above specialist knovleJge because ol lunJing limitations. Fntrepreneurial ability can make the Jillerence betveen an average anJ an excellent visitor attraction. Hovever, openings lor acaJemic posts anJ specialisms Jo exist vithin national organitations. So you may neeJ to lover your expectations in the short term to gain in the long term by mapping out hov you vill achieve your goals. VoIuntary vorI Voluntary vork proviJes uselul experience lor your CV anJ can oller you insight into the vay in vhich organitations operate. Approaches lor voluntary vork, incluJing placements as part ol a postgraJuate course, are common. The quality ol applications varies. Therelore, a prolessional, polite anJ competitive approach is essential. Iirst, be prolessional. ProolreaJ your CV. AJJress your application to an inJiviJual. Be clear about vhat you voulJ like to Jo anJ vhat you can oller. Be reliable. Tailor each application to the historic builJing concerneJ. Use your local career centre lor guiJance on layout lor CVs anJ cover letters. SeconJly, be polite. It is important to be respectlul to everyone you meet, not just those you think vill help you. This incluJes lrontolhouse stall anJ CURATING other prolessionals in the region. Remember it is a small vorlJ anJ ve Jo netvork! ThirJly, be competitive. Here at HarevooJ ve receive many more requests lor voluntary vork in the curatorial Jepartment that ve can manage. Therelore, ve are able to select the best inJiviJuals lrom the applications receiveJ. So you neeJ to Jemonstrate your ability anJ ambition above that ol others. )XUWKHULQIRUPDWLRQ Orgon|zot|ons !ne /|ngnOn !|us, 2c |O||fOx Ro, !eoo|ngcn, M|oo|esex !w11 |d t: 020 843 525 e: O|ngnOn|us@c|ne|ne.ccn w: www.O|ngnOn|us.c|g Museuns /sscc|O|cn, 24 CO|v|n S, |cnocn E1 Nw t: 020 742 570 e: |nfc@nuseunsOsscc|O|cn.c|g w: www.nuseunsOsscc|O|cn.c|g NO|cnO| !|us, P Bcx 3, wO|||ngcn w/5 7wD t: 0870 458 4000 e: enqu|||es@nenO|cnO||us.c|g.u| w: www.nO|cnO||us.c|g.u|/vc|unee||ng dn|ve|s|y cf |e|cese|, DepO|nen cf Museun Suo|es, 105 P||ncess Ro EOs, |e|cese| |E1 7| t: 011 252 33 e: nuseun.suo|es@|e|cese|.Oc.u| w: www.|e.Oc.u|/nuseunsuo|es !ne |ccO| Museuns, ||c|O||es Ono /|cn|ves Ccunc|| sncu|o p|cv|oe se|v|ces sucn Os |O|n|ng Ono Oov|ce cn f|no|ng O ,cc |n |e|evOn secc|s. Ycu| |ccO| nuseun sncu|o ce Oc|e c Oov|se ycu cn ycu| |ccO| p|cv|oe|. |c| oeO||s cf Cu|u|O| |e||Oge NO|cnO| \ccO|cnO| uO||f|cO|cns N\} cnec| uO||f|cO|cns fc| |nous|y ||}, /ccess |cuse, |O|esf|e|o 17, !e|fc|o, Sn|cpsn||e !|7 4Pw t: 0152 52020 e: qf|@qf|.cc.u| w: www.qf|.cc.u|/vccO|cnO|/cu|u|O| 8ooks/[ourno|s |u:eum: Jcu/oc|, Jcc: F\|/c ncnn|y, Ono |c, |o |u:eum: O|e O|| puc||sneo cy ne Museuns /sscc|O|cn OvO||Oc|e cn-||ne} f|cn www.nuseunsOsscc|O|cn.c|g R|cnO|o Ne|scn Bc||es, w|c| cc|c/ |: ,cu/ cc/cc|u|e? A c/cc||cc| mcouc| |c/ /cc-|uo|e/: coO cc/ee/-c|coge/:, !en Speeo P|ess, puc||sneo OnnuO||y. w: www.,ccnune|sc|c|e.ccn
CARFFRS IN " HISTORY
F8IhFk 8AYFk8 Cu|Oc|, Ycun P|cg|Onnes, !Oe Mcoe|n Vost eii:ri:s oreoiz: :v:ots Ait|oa| t|is c|et:r jocas:s oo :cacetiooei :v:ots jor voao :oi: meov oj t|: stret:i:s eoc rectic:s c:scrio:c er: eiiceoi: to t|: oreoizetioo oj ot|:r tv:s oj :v:ots eim:c et ot|:r eaci:oc:s, :o:rei eoc s:cieiist THF FDITORS F very publicly lunJeJ gallery or museum has a programme ol eJucational activities vhich aims to introJuce art vorks or artelacts to a viJe auJience. Fvents anJ activities are therelore createJ lor a broaJ range ol people, anJ the role ol the eJucation team is to reinterpret artelacts lor each auJience group. KnovleJge ol art or art history is essential lor an unJerstanJing ol the collection anJ its contexts. Such knovleJge, along vith an appreciation ol the lactors that motivate the public to visit museums, shoulJ be combineJ vith a Jesire to enhance public learning anJ enjoyment ol the collection being visiteJ. FJucation curators are responsible lor creating annual programmes ol events anJ online or printeJ resources lor public use. Larger museums JiviJe their eJucation teams into Jepartments accorJing to inJiviJual auJiences vith specialist curators lor particular groups. Olten the Interpretation Curator, vho creates all interpretive material (lor example, vall texts, captions anJ exhibition brochures) vill be part ol the eJucation, rather than the exhibitions, Jepartment. Many art historians vork on eJucation programmes in museums. The many positive aspects ol the job incluJe. i an opportunity to Jevelop a close relationship vith the art or artelacts in a museum's collection 7 i the chance, in some galleries, to vork closely vith the exhibitions team to Jiscuss iJeas lor lorthcoming exhibitions anJ relateJ eJucational events i llexible vorking hours, vith time oll io ii:a taken Juring the veek to compensate lor vorking veekenJ or evening shilts i vorking vith Jiverse auJiences i the opportunity to reinterpret vorks ol art to encourage the participation ol existing anJ nev auJiences i a broaJ remit, ranging lrom programming, managing project teams anJ teaching to being responsible lor buJgets, outreach anJ proJucing marketing materials i the opportunity to play an active role in an important cultural institution. One ol the lev JisaJvantages is that remuneration lor this kinJ ol vork can be lov. The average salary lor eJucation curators/coorJinators is J25,JJJ but the opportunity to engage in interesting anJ enjoyable vork usually compensates lor this. Entry requirements A lirst Jegree is the minimum qualilication requireJ lor curatorial/coorJinator posts. An MA is highly Jesirable, anJ a PhD a Jistinct aJvantage. A minimum ol three years experience vorking in a museum environment is essential, this coulJ be gaineJ through voluntary vork vith a local museum or an internship lolloveJ by time spent vorking as an Assistant Curator or FJucation Assistant. A backgrounJ in teaching is also an aJvantage, as is project management experience. CARFFRS IN " HISTORY 8 )XUWKHULQIRUPDWLRQ Job odvert|sements ||e Ouc/O|co McnoOys Ono SOu|oOys} w: ,ccs.guO|o|On.cc.u| Orgon|zot|ons EngOge, 108 |o B|cnpcn Ro, |cnocn Sw7 3R/ t: 020 7244 0110 e: |nfc@engOge.c|g w: www.engOge.c|g /n |ne|nO|cnO| Osscc|O|cn fc| gO||e|y eoucOc|s. Sucsc||ce|s |ece|ve enO|| upoOes. EM |cup fc| EoucO|cn |n Museuns}, P||n|cse |cuse, 13 ||||ngnOn Ro, ||||ngnOn, Ken ME7 4EP t: 0134 31240 e: gensc@c|ueycnoe|.cc.u| w: www.gen.c|g.u| Courses wn||s O nunce| cf un|ve|s||es cffe| ccu|ses |n nuseun Ono gO||e|y eoucO|cn n|s ype cf |O|n|ng |s nc essen|O|. MOny nuseuns cffe| |ne|nsn|ps fc| suoens c gO|n nc|e expe||ence c| snc| |O|n|ng ccu|ses c |eO|n Occu |eOo|ng eoucO|cnO| wc||sncps. PO||c|pO|ng |n evens Ono ccu|ses O nuseuns cOn ce On exce||en wOy cf f|no|ng cu Occu ne o|ffe|en p|cg|Onnes cn cffe|. FDUCATION
NIGFI IIFWFIIYN P|cfessc| cf /| ||sc|y, Scncc| cf |unOn||es, dn|ve|s|y cf Sussex N ot many art historians vork lulltime as exhibition organiters, unless they have a post in the exhibition Jepartment ol a museum, gallery or some other institution such as the Arts Council or British Council. It may be possible to linJ an opening in such an organitation vith relatively little experience, although museums anJ galleries are increasingly attracteJ to canJiJates vho have unJertaken voluntary vork Juring their lirst Jegrees. Hovever, lor the researcher, organiting an exhibition is an important vay to publicite your research linJings anJ it is an activity that might vell lurther a career. Some organitations employ establisheJ scholars on short term contracts as guest curators, appointments that bring vith them a viJe range ol JemanJs, all ol vhich neeJ to be clear lrom the outset. Nov that some museums anJ galleries have been given analogue status by the Arts anJ Humanities Research Council (AHRC), there are nev sources ol lunJing available to support research projects in relation to exhibitions. The curator vill usually be responsible lor vriting a Jralt proposal (i.e. an outline ol the aims ol the shov anJ the kinJ ol experience that it voulJ represent lor the organiters anJ the visitors), anJ assembling an outline object list. Colleagues in the Fxhibition Department, vho vill aJvise on logistics, costs anJ conservation, vill also comment upon the latter. Ior example, vill the gallery lloor space be available to allov the intenJeJ numbers ol objects to be shovn` A buJget vill be Jravn up anJ agreeJ anJ vill have to cover the costs ol gathering the exhibits lrom their various ovners anJ keepers. Because ol high transportation costs, some organitations choose to curate shovs vith exhibits coming largely lrom 70 their ovn collections. The linal lorm ol the buJget vill neeJ to take account ol sponsorship anJ aspects such as transportation anJ insurance, as the organitation's source ol expertise, a guest curator may be expecteJ to aJvise on these issues. The sourcing ol potential exhibits vill require an immense amount ol letter vriting, emailing, telephoning, travel anJ research. As the list ol objects is being linaliteJ, there vill be Jiscussions about the Jesign ol the installation. There vill also be Jiscussion about the kinJs ol harJcopy publications vhich vill have to be proJuceJ, these might incluJe, lor example, an accompanying book or catalogue lor visitors to purchase or perhaps a lree objectlist. An exhibition organiter vill be askeJ to vrite or comment on the storyboarJs anJ the labels anJ help plan the eJucational events that vill take place Juring the shov. Vith some projects there may be involvement in meJia vork. Some arts critics like to be able to interviev curators as a quick vay ol proJucing lines to use in their revievs. In larger organitations there vill be specialists employeJ to help vith some ol these processes. Hovever, in some smaller organitations everyone may be askeJ to contribute. Successlul exhibitions rely on teamvork anJ require the exhibition organiter to think harJ about auJiences, vho may not necessarily be stuJents or other acaJemics but other various Jemographic groups. It is important to remember that exhibitions are also temporary events the books, catalogues anJ revievs are all that remain ol a project, yet that project may have resulteJ lrom years ol painstaking research. Some curators take viJeo recorJs ol the shovs they install. Bear in minJ also vhat a tremenJous amount ol time exhibition projects may take several years ol research anJ planning anJ veeks ol hectic activity running up to the opening. The most important prerequisites lor a successlul shov are an imaginative anJ timely proposal, aJequate lunJing, a gooJ team vith expert colleagues, the capacity to be thorough, organiteJ yet aJaptable, anJ an element ol luck! Fven quite small shovs can translorm public perceptions anJ Jisseminate viJely the results ol nev research. Ior some art historians, the curateJ shov is their most important contribution to the sum ol knovleJge anJ, complex though they are, art exhibitions gain more attention lor art history than any other lorm ol practice. FXHIBITION ORGANIZING 71
CIAkF FOkD-WIIIF ||ee|Once /| ||sc||On I reelance vork is a potential moJe ol employment lor the art historian toJay vhen lulltime jobs are Jillicult to linJ. Hovever, lreelancing is never an easy vay ol making a living. It can take up to lour or live years to establish a reputation Juring vhich time an aJJitional source ol income may be necessary. There are many possible sources ol vork lor the lreelance art historian. i teaching aJult classes such as those run by a Local FJucation Authority (LFA), local institutes such as Morley College or The City Literary Institute, the Vorkers' FJucational Association (VFA), extramural Jepartments ol universities, or the Open University (s:: chapters on Teaching) i giving lectures in galleries, museums, exhibitions, or lor local or national societies, such as the National Trust or the National Art Collections IunJ i accompanying stuJy tours in the UK or abroaJ, organiteJ by specialist art tour operators (s:: Art Tourism chapter). Art historians can also become lecturers vith the National Association ol Decorative & Iine Arts Societies (NADIAS), (s:: Iurther inIormation) i unJertaking parttime teaching in universities or art schools (s:: chapters on Teaching) i engaging in parttime specialist seconJhanJ book Jealing 72 i researching lor other people's books anJ exhibitions or lor television i vriting, e.g. art criticism, revievs, articles, encyclopaeJia anJ catalogue entries, pamphlets, textbooks, anJ vhatever comes to hanJ. At lirst, this vork has to be actively sought. A viJe circle ol personal contacts is an aJvantage, as vell as the conliJence to market one's ovn abilities vhen Jirectly approaching inJiviJuals anJ organitations. Fxperience ol lecturing, vriting anJ aJministrative skills is an asset vhen looking lor vork at the outset. It is vorth making time at university to gain some ol this experience on a voluntary basis, in the university itsell, lor national societies or perhaps lor local museums or galleries. Vhat makes a lreelancer's reputation is prolessionalism, anJ a broaJ base ol knovleJge. At lirst, you cannot allorJ to turn Jovn any piece ol vork, no matter hov small, proviJeJ you leel competent to unJertake it. Any piece ol vork accepteJ must be Jone vell anJ proJuceJ to JeaJline. This means that lor the prolessional lreelancer, vork must come lirst, olten it cannot be litteJ into a ninetolive Jay, anJ this can leaJ to social sacrilices. Determination, sellJiscipline, persistence anJ, above all, reliability, enthusiasm anJ gooJ health are Jesirable attributes lor the lreelancer. The revarJs are a challenging anJ varieJ vorking lile, allorJing the possibility ol travel anJ meeting interesting people. The lreelancer may be employeJ on a lee basis, or a shortterm contract, but Joes not receive a salary. To live on irregular earnings requires JisciplineJ linancial planning. One ol the subcommittees ol the Association ol Art Historians, the InJepenJents' Members' Group, is JevoteJ to lreelance issues anJ coulJ oller lurther aJvice anJ help (s:: Iurther inIormation). )XUWKHULQIRUPDWLRQ Orgon|zot|ons NO|cnO| /sscc|O|cn cf Decc|O|ve & ||ne /|s Scc|e|es N/D|/S}, N/D|/S |cuse, 8 u||fc|o S, |cnocn wC1N 1D/ t: 020 7430 0730 e: Enqu|||es@nOofOs.c|g.u| w: www.nOofOs.c|g.u| //| |noepenoens' Mence|s' |cup w: www.OOn.c|g.u| c||c| cn |noepenoens. !ne |cup O|sc p|couces On cn||ne D||ecc|y cf ||ee|Once /| ||sc||Ons, Ono |uns O o|scuss|cn g|cup, /|-||ne w: f|nOnce.g|cups.yOncc.ccn/g|cup/O|-||ne . |c| nc|e oeO||s, ccnOc ne CnO|| cf ne |cup: e: cn-|noeps@OOn.c|g.u| IRFFLANCF VORK 73 T here is no specilic acaJemic preparation to become a jevellery specialist, my ovn story is presenteJ here as an illustration ol the somevhat circuitous journey one might neeJ to take. Hovever, each step has proviJeJ a soliJ lounJation lor my present role ol Manager, Iashion ]evellery anJ Gilts, Acting Manager, Iine ]evellery anJ Vatches, at Tillany & Co. Alter my preJominantly artsbaseJ vork experience lrom university (a Jegree in Art History anJ Architecture, succeeJeJ by a postgraJuate Jegree in Museum anJ Art Gallery StuJies, both lrom Manchester University), volunteer vork anJ stuJent employment, I Jeliberately chose to unJertake a year out in inJustry anJ vorkeJ as a creJit controller in the linance Jepartment ol a chilJren's publisher. This gave me a greater unJerstanJing ol vorking lile outsiJe the art vorlJ. It vas here that I receiveJ aJvanceJ training in Microsolt VorJ anJ Fxcel, essential, translerable skills. Although I vas ollereJ a secure luture career, this vas not my passion (vhich I alreaJy knev to be jevellery) anJ I therelore useJ my volunteer vork experience in Phillips Auctioneers to leverage an opportunity to break into the restricteJ career ol antique jevellery. It is important to remember that sometimes your lirst role might not necessarily be your Jream job (I began as an aJministrator in a regional branch), or in your prelerreJ location, but consiJer vhere it might leaJ anJ the opportunities it may present. Irom here I vas rapiJly promoteJ to Trainee Valuer, then Valuer, belore moving to LonJon vith the expansion ol the company as a jevellery specialist. 74
hFIFN DIMMICk MOnOge|, !|ffOny & Cc. During this time I began to acquire my prolessional qualilications. To secure creJibility anJ Jevelopment in a still maleJominateJ anJ specialist inJustry, I unJertook my Iellovship ol the Gemmological Association. It vas the Jesire lor high stanJarJs that motivateJ my move into the retail sector. Seeing the jevellery as a linisheJ proJuct anJ in perlect saleable conJition anJ meeting the expectations ol select purchasers subsequently encourageJ me to move to a BonJ Street jeveller. At this time I completeJ my gem training vith a Diploma in DiamonJ GraJing. DiamonJs being such an important gemstone, it is aJvisable to gain a more comprehensive unJerstanJing ol their origin, properties anJ characteristics. I also useJ this qualilication to expanJ my CV anJ recruitment potential. Although this markeJ the pinnacle ol the application ol my art historical training, I lounJ the antiques inJustry, hovever, not so Jiscerning. In essence, the jevellery traJe hanJles highly portable anJ yet highly valuable commoJities but not everyone is motivateJ by a love ol aesthetics, lor some, the Jesire to make a prolit is overvhelming. Vorking lor a large, internationally renovneJ corporation such as Tillany's has many aJvantages, prolessional anJ personal. Promotion opportunities are available (at the right time) anJ the company heavily invests in both internal anJ external training. Fmployees are revarJeJ vith a competitive salary, a gooJ benelits package, but, most importantly, vorlJviJe policies anJ proceJures that saleguarJ the customers, the merchanJise anJ the stall. Retail lile is not alvays glamorous, anJ the hours can be long. Although, sometimes, acaJemic knovleJge may not immeJiately seem to be appreciateJ, this is vhere a graJuate coulJ really make an impact. Vithin the recruitment process at Tillany's lor example, I voulJ actively look lor someone vho coulJ builJ upon their soliJ acaJemic Jegree lounJation anJ look to impart the commercial 'Tillany Fxperience'. This incluJes sharing their expertise, honouring commitments anJ creating a liletime ol memories lor our customers. Ior example, one ol the most revarJing aspects ol the role is helping someone choose their engagement ring, this process requires sounJ scientilic anJ historical knovleJge, a cultivateJ aesthetic sense, commercial acumen anJ a sensitivity to the customer's neeJs. Iinally, you never linish learning, anJ il you have an insatiable thirst lor knovleJge anJ are still Jriven to Jeliver the highest stanJarJs you vill never vant to stop. My last qualilication vas vith the retail jevellery inJustry's governing boJy, the National Association ol GolJsmiths (NAG), there, I unJertook the vhat is currently knovn as the Prolessional ]FVFLLFRY 75 ]evellers' Management Diploma course. This vas a soliJ vocational anJ practical course, complementing Jegree level skills anJ theoretical knovleJge. Vithin the next tvo years hovever, it is my intention to unJertake an MBA to take my career onto the next level. As this chapter illustrates, art historians can combine their love ol beautilul objects vith a career that incorporates commercial, managerial anJ scientilic knovleJge anJ skills. )XUWKHULQIRUPDWLRQ Orgon|zot|ons !ne ennc|cg|cO| /sscc|O|cn Ono en !es|ng |Occ|Oc|y cf |eO B||O|n en-/}, 27 |ev|||e S, |cnocn EC1N 8!N t:: 020 7404 3334 e: |nfc|nO|cn@gen-O.|nfc w: www.gen-O.|nfc en-/ p|cnces ne suoy cf gennc|cgy cy cffe||ng |nous|y-|eccgn|zeo ccu|ses. | O|sc p|cv|oes |Occ|Oc|y se|v|ces Ono Oov|ce. NO|cnO| /sscc|O|cn cf c|osn|ns, 78O |u|e S, |cnocn EC2/ 4X t: 020 713 4445 e: |nfc|nO|cn@,ewe||e|s-cn||ne.c|g w: www.,ewe||e|s-cn||ne.c|g !ne /sscc|O|cn O|sc cffe|s eoucO|cn Ono |O|n|ng fc| enp|cyees cf O|| |eve|s wc|||ng |n ne |eO|| ,ewe||e|y |nous|y. !ne Scc|ey cf Jewe||e|y ||sc||Ons, c/c !ne DepO|nen cf Sc|en|f|c ReseO|cn, !ne B|||sn Museun, |cnocn wC1B 3D 8ooks Jcnn |c||ng, ||||co, Jewe|:, New Yc||: |O||y N. /c|Ons, 1 Jcnn |c||ng, |cu|: Ccm|c/| ||||co, c| ||||co, & Cc., New Yc||: |O||y N. /c|Ons, 2002 CARFFRS IN " HISTORY 7
JOhN k088FII IAYIOk /| C|||c, ||e ||me: O l all areas ol possible prolessional activity lor art historians, journalism is the most Jillicult to generalite about. Fvery experience is inJiviJual, anJ vhat has vorkeJ as an entree lor one person may vell not vork lor anyboJy else at all. At the beginning ol the 2Ist century it is not possible to give even some ol the general guiJelines vhich voulJ have maJe sense 25 years ago. Ior example, membership ol one ol the prolessional journalist associations, such as the National Union ol ]ournalists or the Institute ol ]ournalists, vas, in those Jays, more or less a sio: ae ooo ol employment by any major nevspaper or magatine. Nov attituJes have changeJ anJ moveJ very much against closeJ shops ol any kinJ anJ so the major aJvantage ol membership is simply the consequent possession ol a recognitable Press CarJ, vhich ensures lree aJmission to most museums anJ temporary exhibitions anJ establishes one's creJibility vith press ollices. These lunctions are also serveJ, lor the art journalist specilically, by membership ol AICA (Association Internationale Je Critiques J'Art), vhich issues its ovn membership carJ anJ is viJely recogniteJ internationally. All this is, in a sense, putting the cart belore the horse, in that the same sort ol Catch22 situation applies to membership ol these boJies as to other kinJreJ prolessional associations, such as Fquity. That is, you have to Jemonstrate that you have experience as a prolessional vriter in orJer to become a member, anJ you may vell linJ that you have to be a member belore you are alloveJ to get the requisite experience. So the lirst thing is to get some vritten vork publisheJ somevhere. StuJent magatines are olten uselul in that, even il noone outsiJe eJucation takes them very seriously, at 77 least they constitute a means ol publication anJ cuttings look more impressive than tattereJ typescripts. The same is true ol local nevspapers. Only tvo or three ol the major regional papers employ someone regular (anJ then almost certainly not as a stall member) to vrite about exhibitions, but many are, in principle, villing to consiJer revievs anJ 'think pieces' about local galleries especially il they have to pay little or nothing lor them. The big question is, vhere Jo you go lrom there` But lirst it shoulJ be askeJ, vhere Jo you vant to go` Vhile practically any nevspaper regularly carries material about lilms anJ theatre there are very lev that see art activities (auctions anJ prices apart) in the same light. Only the quality Jailies, the quality SunJays anJ the major LonJon evening nevspaper have regular art critics. The number ol veekly magatines vith similar coverage is constantly reJucing, though on the other hanJ there seem to be more anJ more monthly magatines lor young men anJ young vomen vhich may 'come over all arty' lrom time to time, anJ there are alvays airlines' inllight magatines vhich may see art coverage as part ol lostering cultural tourism. There are also more specialiteJ outlets, incluJing 1|: Art X:wse:r, Voc:ro Peiot:rs, 1|: Art Foor anJ the more scholarly perioJicals, Aoiio anJ 1|: Fariiotoo Veezio:. In other vorJs, the market is not exactly expansive. The only vay ol getting into any ol these is by personal contact anJ knocking at Joors. The process is not necessarily elitist, vhat linally matters is not vho you knov but vhat iJeas you have anJ hov vell you can vrite them up to suit the context in vhich you are trying to place the article. The main hurJle is the lirst. getting someone vho might give you vork to reaJ vhat you have vritten. That is mainly a matter ol trial anJ error, not unmixeJ vith a certain amount ol sheer gall. Use any introJuctions you can set up, anJ be reaJy to vrite to eJitors out ol the blue, enclosing a sensible CV anJ a selection ol vritings, prelerably publisheJ somevhere. Do not senJ irreplaceable originals, they may vell lanJ right in the vastepaper basket. Fxpect noone to be impresseJ vith scholarly qualilications. a lev art journalists are traineJ art historians, but most are not, anJ eJitors are more likely to be looking lor communication skills than an impressive eJucational backgrounJ. Iev national publications have much time, either, lor courses in journalism, so though you may leel that you may personally gain something lrom one, Jo not regarJ it as an automatic key to the prolession. Most important. hovever you go about the approach, have the courtesy, or just the basic common sense, to lamiliarite yoursell vith any publication you are targeting. Il you suppose that eJitors are going to be so amateJ by CARFFRS IN " HISTORY 78 your style anJ eruJition that they are going to hire you on the spot, hovever irrelevant you may appear to their neeJs, then you are certainly vrong. Ability to perlorm on time, to length, anJ attractively to the auJience aimeJ at is lar more important, anJ vill be appreciateJ at vhatever level you hope to lunction. A lev specilic projects lor articles or nevsy stories might also be uselul, but it is generally better to submit them in briel outline rather than vrite the vhole thing up entirely on spec. )XUWKHULQIRUPDWLRQ /|C/ |ne|nO|cnO| [/sscc|O|cn |ne|nO|cnO|e oe C|||ques o'/||. / ||s cf nO|cnO| Ooo|esses |s OvO||Oc|e f|cn: 32 |ue Yves !cuo|c, |-75010 PO||s, ||Once t: 33 01 47 70 17 42 e: cff|ce.pO||s@O|cO-|n.c|g w: www.O|cO-u|.c|g.u| Deportment o| Art H|story
8A AkI HISIOkY (3 yeor course} /rI Hi:Icry ccn Le Icken c: pcrI cf JcinI Hcncur: wiIh Eng|i:h, Hi:Icry, C|c::ic:, Cermcn cnc /rchcec|cgy. /IIrccIicn: cre: i/ wice rcnge cf mccu|e: in we:Iern crI frcm Ihe Fenci::cnce Ic Ihe pre:enI ccy iFe:ecrch-|ec Iecching Ly e:IcL|i:hec :chc|cr: i/ :Iucy Irip cLrccc in Ihe :eccnc yecr i/ |ive|y prcgrcmme cf hi:Icricc| cnc mccern exhiLiIicn: in Ihe Djcncg|y /rI Cc||ery i/ we||-re:curcec cnc p|ec:cnI envircnmenI in Ihe Lcke:ice /rI: CenIre iIhe cppcrIuniIy Ic Icke mccu|e: in cIher cepcrImenI: :uch cnc fi|m, mccern |cngucge: eIc
MA AkI HISIOkY ond MA VISdAI CdIIdkE {1 yecr fu||-Iime cr 2 yecr: pcrI-Iime) / wice-rcnging ccur:e chrcnc|cgicc||y cnc in Ihe vcrieIy cf cpprccche: iI cffer: cnc enccurcge:. Ccmpu|:cry ccre mccu|e: MeIhccc|cgie: cnc l::ue:. CpIicnc| mccu|e: mcy inc|uce: /rI & Fepre:enIcIicn in Ihe 18Ih CenIury: FuLen: cnc Hi: Iime:: Lcnc:ccpe in 8riIcin :ince 1800: 8ccy/DccumenI Surrec|i:m cnc FhcIcgrcphy: Ccn:IrucIicn: cf Cencer in Ihe Fenci::cnce: High /rI & Fcpu|cr Cu|Iure in Frcnce 1750-1850.
kAIF kNOWIF8 |eOo cf Ccnnun|cO|cns, Du|w|cn P|cu|e O||e|y A lthough marketing/communication qualilications are a Jelinite asset, anJ a Jegree in art history an aJvantage, neither is essential lor those vishing to enter the Press anJ Marketing Jepartment ol a gallery or museum, in most cases, hovever, you vill be requireJ to be eJucateJ to a Jegree level. Opportunities to obtain vork experience vary lrom gallery to gallery. MarIeting a smaII, underIunded gaIIery a case study Dulvich Picture Gallery receives no government lunJing anJ therelore all its buJgets are tight. There is an aJmission charge lor everyone except chilJren, stuJents, the unemployeJ anJ the registereJ JisableJ. It is an olJ master collection ol outstanJing quality. Hovever, it is oll the beaten track. It runs an avarJvinning eJucation Jepartment anJ three critically acclaimeJ exhibitions a year. The lirst thing I JiJ vhen I arriveJ, anJ realiteJ vhatever I JiJ haJ to be as cheaply Jone as possible, vas to ring the press. Press is lree marketing. To make lile easier I upJateJ the press list anJ trieJ to speak to as many ol the press contacts as possible. This meant they leaneJ into their vastepaper baskets anJ got out my press releases. They starteJ visiting Dulvich, vithin three months ol my arrival the visitor ligures haJ risen by 25 percent (vhich vasn't much in those Jays as harJly anyone visiteJ the Gallery). Vhen the Gallery vas laceJ vith bankruptcy ve helJ a press conlerence at Christie's, knoving that the press voulJ be more likely to go there than to Dulvich. I also contacteJ ten important journalists, incluJing leaJer vriters, anJ tolJ them the story, embargoeJ until the morning ol the press 80 conlerence. This gave them time to research long anJ interesting stories about the Gallery. The plight ol the Gallery vas on the BBC nevs, anJ the press coverage extenJeJ to America anJ ]apan. Ve vere sent a cheque that very Jay by a generous Jonor vho vas inviteJ on to our boarJ. The next thing I JiJ vas to institute regular events, incluJing lunchtime lectures, aJvertising them on a very cheap leallet vhich ve JistributeJ locally anJ in museums all over LonJon. The lirst lecture haJ I people (ve vere very pleaseJ) but soon over IJJ vere coming. Though the lectures vere lree a number ol the people vho came then vent into the Gallery, paying to Jo so. The other important thing about the leallet vas that it tolJ you hov to get to the Gallery (by train, bus or car a map vas incluJeJ) as vell as vhere you coulJ eat locally. I also took on a long struggle vith the local council anJ eventually got signposts put up pointing the vay to the Gallery. On then Jiscovering that the managing Jirector ol MORI liveJ nearby I askeJ him vhether his organitation voulJ conJuct a visitors' survey lor lree. Vhich they JiJ. Irom this ve learneJ a great Jeal about our visitors anJ targeteJ the type ol person vho clearly likeJ the gallery. Ve learneJ that they vere, on the vhole, miJJleageJ vomen vho likeJ art anJ so any aJvertising ve JiJ in the luture (anJ ve harJly aJvertise at all) vas aimeJ at that type ol person. I then trieJ to Jo some joint ventures vith other more popular galleries. Ve JiJ a leallet calleJ Soeo:`s Loocoo (the Gallery is one ol a number ol LonJon builJings JesigneJ by Sir ]ohn Soane). This attracteJ visitors interesteJ in architecture. Another successlul leallet vas calleJ Ait:roetiv: Jic Vest:rs. The unvritten message vas that there vere places apart lrom the National Gallery vhere you coulJ see olJ master paintings. Ve teameJ up vith The Vallace Collection, Apsley House anJ KenvooJ, all ol vhom haJ more visitors than ve JiJ. I askeJ a lirm that maJe printing machinery to print our printing neeJs on their open Jays lor lree, anJ they JiJ. Ve also JiJ leallet svaps vith galleries vhen ve vere Joing appropriate exhibitions so vhen ve haJ Murillo anJ the HayvarJ Gallery haJ Goya, ve svappeJ leallets anJ helJ lectures about each other's exhibitions. Our visitors tenJeJ to come at veekenJs so ve targeteJ groups to get them to come miJveek. Ve beggeJ, borroveJ anJ stole lists ol group organiters lrom, among others, NADIAS (National Association ol Decorative & Iine Art Societies), the University ol the ThirJ Age, art history societies, the National Trust, anJ the NACI (National Art Collections IunJ). Three times a year ve sent them all our lorthcoming exhibitions anJ a lorm telling them 81 MARKFTING hov to book in. This vorkeJ very vell inJeeJ. Irom one group a veek on average ve lounJ ourselves having to turn them avay. At one stage ve vere getting lour groups a Jay. Ve inaugurateJ stuJy Jays (the Director anJ the Curator JiJ lectures anJ tours) on MonJays vhen the Gallery vas closeJ. These vere more expensive, but very successlul. Ve inviteJ groups to come in the evenings as vell, charging them more anJ giving them a glass ol vine. Ve JiJ promotions vith nevspapers, vith 1im: Jat, vith local railvay lines, vith local cinemas, anJ vith magatines. This meant the meJia covereJ each event ve ollereJ more extensively than they might have Jone othervise. It also meant ve coulJ monitor vho vas coming. Ve askeJ the British Tourist BoarJ (as it vas then) to bring loreign journalists to see the Gallery. Il ve haJ loreign volunteers they translateJ our press releases anJ rang their arts journalists inviting them to come to FnglanJ to see Dulvich, this has also been very successlul. Ve JiJ promotions vith local restaurants, vith local estate agents (2 lor I ollers to people on their mailing lists) anJ vith local raJio. Ve JiJ a certain amount ol targeteJ aJvertising, in the Royal AcaJemy's PA Veezio:, XADFAS P:vi:w anJ, occasionally, in tourist magatines though Dulvich vas never on a lirst time visitor's itinerary. Ve vent to a lamous aJvertising agency, McCann Frickson, anJ askeJ them to Jo lree aJvertising lor us anJ they JiJ. They JiJ Jesigns lor the tube aJvertising campaign vhen ve reopeneJ in 2JJJ alter being closeJ lor I8 months. Ve target Jestination travel companies. Ior example, lor a Beatrix Potter exhibition, ve askeJ a ]apanese volunteer to get in touch vith ]apanese travel agents because ve have been tolJ that Beatrix Potter is extremely popular in that country. Ve also got in touch vith all the ]apanese nevspapers anJ magatines in this country anJ vrote to ]apanese companies baseJ in LonJon telling them about the exhibition anJ hov they coulJ hire the Gallery lor parties. Fvery nov anJ then ve have journalists' lunches or breaklast conlerences anJ keep them up to Jate on things that are happening. Ve try to make nevs stories all the time. Il a tree is being choppeJ Jovn in the garJen ve get the local press to cover it. Vhen the JescenJent ol the King ol PolanJ claimeJ that our pictures vere rightly his (in the I9Js the collection nov at Dulvich vas JestineJ to be the Polish royal collection but history interveneJ anJ it vas never JelivereJ) ve turneJ it into a brilliant press story anJ one nevspaper vent to PolanJ to interviev him. CARFFRS IN " HISTORY 82 Since reopening, ve have, vith the assistance ol a grant, been able to Jevelop a very gooJ vebsite. Ve hire the Gallery out lor veJJings anJ parties anJ the income lrom hire has JoubleJ in the last year. Ve got Absolut VoJka to sponsor latenight opening, anJ ve starteJ a Young IrienJs group. The IrienJs are nov 5J years olJ. Their membership increaseJ in 2JJ+ by over 2JJJ, lrom +,JJJ in ]anuary to vell over 6,JJJ by the enJ ol the year. Annual attenJance has also increaseJ, lrom 3J,JJJ a year ten years ago to arounJ IJJ,JJJ a year. Recently, Dulvich Picture Gallery vas voteJ 'Britain's lavourite visitor attraction.' This vas achieveJ largely by vorJ ol mouth among the IrienJs, anJ by the use ol the monthly ebulletin to visitors vho like to be alerteJ about vhat's on at Dulvich. A gentle suggestion vas maJe that they might like to vote lor Dulvich anJ they JiJ in their hunJreJs, a prool ol the success ol emarketing. The viev Irom a Iarge gaIIery (The Editors, 2uu5) Kate Knovles's interesting anJ entertaining piece illustrates the resourcelulness requireJ by all those vorking in galleries, although organitations vith lever stall anJ less money to spenJ than larger institutions may neeJ to be more creative. The National Gallery has access to a Jatabase ol I5JJ journalists anJ organites its resources so that it can employ a Irench PR lirm to promote the gallery in Irance, Spain, Italy anJ Belgium. As ve have seen, the Dulvich, vith lever resources, sometimes asks its loreign volunteers to promote the Gallery's lorthcoming exhibitions to tour operators in their respective countries vhen they return home. Yet, Jespite the presence ol aJJitional stall in larger galleries (the National Gallery's Marketing Department comprises lour people vhile its Press Ollice is stalleJ by another lour), both they anJ smaller institutions use similar marketing strategies, the Jillerences are principally ol scale. The press/marketing stall at both Dulvich anJ the National vork closely vith exhibition stall vhen promoting exhibitions, both also market/aJvertise in conjunction vith other galleries, both utilite a variety ol meJia print, TV anJ raJio nevs anJ comment, anJ, increasingly, the Internet (especially their ovn gallery's vebsite) anJ email to market anJ aJvertise their institutions. 1|: Fcitors wis| to t|eor Pez::t|e Pem, E:ec oj Pr:ss, Xetiooei Ceii:rv, eoc jiiiieo Vers|, Actio E:ec oj Verr:tio, Xetiooei Ceii:rv, jor t|:ir essisteoc: io t|: r:eretioo oj t|is eccitiooei s:ctioo MARKFTING 83 The 6th Edition of $ :RUOG +LVWRU\ RI $UW is pubIished by Laurence King PubIishing Ltd paperback L32, hardback L45 CARFFRS IN " HISTORY )XUWKHULQIRUPDWLRQ Job odvert|sements ||e Ouc/O|co w: ,ccs.guO|o|On.cc.u| |u:eum: Jcu/oc|, puc||sneo cy ne Museuns /sscc|O|cn, 24 CO|v|n S, |cnocn E1 Nw t: 020 742 20 e: |nfc@nuseunsOsscc|O|cn.c|g w: www.nuseunsOsscc|O|cn.c|g Museun Jccs w: www.nuseun,ccs.ccn/u| 84 [obn Flemlng Travel Award Laurence King PubIishing offers an award of L2,000 annuaIIy in memory of the art historian john FIeming. He and Hugh Honour are the authors of $:RUOG+LVWRU\RI$UW. The award aims to encourage a better understanding of the arts from around the worId. Entries are invited from undergraduate and postgraduate students of the history of art and architecture currentIy enroIIed in UK universities, and who wiII stiII be enroIIed at the time of traveI. RuIes for entry (deadIine mid-February}: Submlsslon o| an essay o| not more tban 500 words, wblcb sbould descrlbe bow tbe award wlll be used ln travelllng to sltes o| art blstorlc lnterest Lacb essay sbould be accompanled by. i an estlmated breakdown o| bow tbe |unds wlll be used i a copy o| tbe appllcant's CV i letters o| recommendatlon |rom two academlc re|erees Lntrles |rom non-AAH members wlll be accepted Pre|erence wlll be glven to appllcants wlsblng to travel outslde tbe UK Tbe wlnnlng candldate wlll be asked to wrlte a report on tbe completlon o| bls/ber travels [udges o| tbe entrles wlll lnclude Hugb Honour, togetber wltb representatlves |rom tbe AAH Lecutlve Commlttee and Laurence Klng Publlsblng. Appllcatlon |orms can be obtalned |rom, and completed |orms sent to. Tbe Admlnlstrator, AAH, 70 Cowcross Street, London LC1M 6L[ AMY 8AkkFk Exn|c||cns ff|ce|, Nc|n EOs Reg|cnO| Museuns |uc, !yne Ono weO| Museuns Se|v|ce A career in museums anJ galleries ollers many possibilities. The sector is varieJ, ranging lrom large institutions vith numerous Jepartments anJ upvarJs ol JJ stall, such as the V&A, to collections helJ by organitations anJ careJ lor by one inJiviJual or a small group ol volunteers. Museums anJ galleries are lunJeJ by a variety ol boJies, they can be JiviJeJ loosely into three categories. National institutions, such as the National Gallery or the National Museums ol ScotlanJ, are run vith Jirectly aJministereJ government lunJing. Local Authority museums are usually manageJ by a Jistrict, borough, tovn or county council. University anJ inJepenJent institutions (e.g. charities anJ companies) are manageJ by committee, examples incluJe the Vhitvorth Art Gallery, The Boves Museum anJ the Saatchi Collection. Iinding a jol Competition lor jobs in the museums sector is strong. There are various routes by vhich to qualily lor museum positions, incluJing higher eJucation anJ vork experience. Assistant Curatorial posts usually require a postgraJuate Jegree, possibly some specialist knovleJge anJ certainly vork experience in the museum sector. StuJents can pursue either a specialiteJ area ol research or a vocational museum/gallery stuJies qualilication. The latter proviJes a valuable unJerstanJing ol the variety ol Jirections in vhich a museum career can leaJ. It also equips stuJents vith the intellectual anJ practical knovleJge, skills anJ avareness requireJ lor curatorship. Vork experience is extremely important, although usually unpaiJ, anJ stuJents 85 are vell aJviseJ to seek volunteer positions Juring their vacations (s:: Introduction lor more inlormation about the AAH StuJent Members' Group's VoluntaryVork IunJ anJ Voluntary Placement Lists). Vork experience is a prerequisite lor most vocational museum/gallery stuJies courses. A placement in a museum or gallery is also usually an important element ol such courses. As a curator, much time is spent vith objects, anJ interpreting their place in artistic, historical anJ social contexts. Careers other than curatorship (e.g. conservation) require an assortment ol postgraJuate qualilications. The current recogniteJ qualilication lor an eJucation anJ learning post, a PGCF, has application lor museums anJ galleries. Alternative courses lor museum anJ gallery eJucation are currently being JesigneJ. Career aths It is important to realite at the outset that museum jobs are not highly paiJ, but are varieJ anJ extremely revarJing. Museums anJ galleries no longer comprise largely collectionsbaseJ curatorial stall, anJ curators may have to move to other institutions in orJer to aJvance their careers. Museum management is becoming increasingly important in a highly competitive culture anJ tourism market. Vithout accessible, interactive anJ inlormative Jisplays, museums cannot compete vith large tourist attractions. Vork in a museum can be JiviJeJ into three main, interJepenJent categories. care anJ interpretation ol the collection, visitor services (e.g. marketing, publicity, community involvement, eJucation anJ learning), anJ aJministration. Collections are careJ lor, JocumenteJ anJ interpreteJ by curatorial, conservation anJ scientilic stall although curatorial stall spenJ an increasing amount ol time on aJministration (e.g. Jealing vith enquiries, Jocumentation, loans anJ interpretive material). Curatorial stall, especially in smaller institutions, may also be expecteJ to take on everything lrom marketing to painting valls! Research time is limiteJ, anJ is usually connecteJ vith nev acquisitions anJ exhibitions. The provision ol interpretation anJ intellectual anJ physical access to collections is supporteJ anJ lacilitateJ by exhibition, eJucation, marketing anJ visitor services stall. All activities vithin the organitation are coorJinateJ anJ supporteJ by aJministration stall, vho are olten the lirst point ol contact vith potential visitors. Therelore, a successlul museum Jisplay or exhibition relies on creative cooperation anJ teamvork across all Jepartments. CARFFRS IN " HISTORY 8 )XUWKHULQIRUPDWLRQ Job odvert|sements |u:eum: Jcu/oc|, puc||sneo cy ne Museuns /sscc|O|cn, 24 CO|v|n S, |cnocn E1 Nw t: 020 742 70 e: |nfc@nuseunsOsscc|O|cn.c|g w: www.nuseunsOsscc|O|cn.c|g Museun Jccs w: www.nuseun,ccs.ccn/u| Courses dn|ve|s|y cf EOs /ng||O, Scncc| cf wc||o /| Suo|es Ono Musec|cgy, Nc|w|cn, Nc|fc|| NR4 7!J t: 0103 52817 e: www.O|@ueO.Oc.u| w: www.ueO.Oc.u|/O| dn|ve|s|y cf |e|cese|, DepO|nen cf Museun Suo|es, 105 P||ncess Ro EOs, |e|cese| |E1 7| t: 011 252 33 e: nuseun.suo|es@|e|cese|.Oc.u| w: www.|e|cese|.Oc.u|/nuseunsuo|es MOny nuseun Ono gO||e|y |O|n|ng ccu|ses O|e vO||oOeo cy ne Museuns /sscc|O|cn :ee Job odvert|sements, Occve, fc| ccnOc oeO||s} Ono ne Cu|u|O| |e||Oge NO|cnO| !|O|n|ng |gOn|sO|cn C|N!}, 7 Bu|ne S, |||e e|nOny, B|Oofc|o BD1 5BJ t: 01274 3105 e: ccnOc@cnnc.cc.u| w: www.ne||ne|cs.cc.u| /n Ooo||cnO| quO||f|cO|cn |s ne /M/, c| /sscc|Oe cf ne Museuns /sscc|O|cn. COno|oOes cOn ceg|n c wc|| cwO|os n|s Ofe| ne f||s n|ee yeO|s cf wc|||ng |n ne secc|. 8ooks !|ncny /nc|cse Ono C||sp|n PO|ne, |u:eum 5c:|c:, seccno eo||cn, |cnocn: Rcu|eoge, 200 BO||y |c|o Ono O|| Dexe| |c|o, ||e |couc| c| |u:eum |cocgemeo|, |OnnOn, MD: /|OM||O, 17 DOn|e| J. Sne|nOn Ono ||| Rcgcff eo|c|s}, |u:eum Cu||u/e. |:|c/|e:. D|:ccu/:e:. Scec|cc|e:, |cnocn: Rcu|eoge, 14 MUSFUMS AND GALLFRIFS 87 CARFFRS IN " HISTORY 88 SCHOOL OF WORLD ART STUDlES AND MUSEOLOCY ... nt the Iendng edge o] enqury nto nrt, nnd vsunI nnd mnternI cuIture ... Taught MA Programmes Arts oI Europe Arts oI AIrIca, OceanIa and the AmerIcas WorId Art CuIturaI HerItage MuseoIogy Research Degrees MA MPhII PhD Develop your specialist interests as a member of an engaged community of art historians, archaeologists and anthropologists. For InIormatIon contact: Sue RoweII (Taught Programmes) e: s.roweIIuea.ac.uk t: 0T603 593520 Lyn Marsh (Research Degrees) e: I.marshuea.ac.uk t: 0T603 593040 w: www.uea.ac.uk/menu/acaddepts/art/ Sainsbury Centre for Visual Arts, UEA 7KH6FKRRO RIIHUVDQXPEHU RIEXUVDULHV MAXINF ADCOCk Scncc| Pnccg|Opne|, Pnccg|Opn|c !uc| Ono ||ee|Once C|eO|ve Pnccg|Opne|, Scncc| cf wc||o /| Suo|es Ono Musec|cgy, dn|ve|s|y cf EOs /ng||O kIChAkD DFNYFk |c/me/|, Ccu|se |eOoe|, M/ Pnccg|Opn|c Suo|es, Nc|w|cn Scncc| cf /| & Des|gn P hotography is a broaJ lielJ, anJ there are various routes by vhich someone can become a photographer lrom the talenteJ amateur vhose career begins as a hobby to the stuJent vho takes a specilic course ol training. It is olten the case that stuJents vho stuJy line art photography, especially at postgraJuate level, become inspireJ by successlul photoartists such as Sam TaylorVooJ or RicharJ Billingham, anJ move to creative photography as a vocation. It varies as to vhether stuJents bring a line art or art historical sensibility to their vork, anJ this olten JepenJs on their experience ol photography as a meJium anJ their exposure to lineart images at home, school, vorking lives anJ so lorth. Ior many contemporary photographers, 'line art' or art historical sensibilities are inciJental compareJ to subject matter, treatment, high quality prints anJ appropriate context. Case study: Maxine AdcocI My interest in photography JevelopeJ vhen I took a prespecialist art anJ Jesign course at sixthlorm college that incluJeJ specilic subjects at GCSF level in art anJ photography. I then took a lounJation course in Iine Art. This vas very intense anJ covereJ a range ol subjects, it is the stage at vhich most stuJents Jiscover vhere their talents anJ enthusiasms lie. I then took a Iine Art Jegree in Printmaking vhere photography vas a stage in the printmaking process. StuJents ol graphic art Jo a lot ol stuJio photography as part ol their training or one can take a Jegree in photography. PHOTOGRAPHY 8 Vork experience can be gaineJ by vorking as a photographer's assistant in a stuJio. There are stuJios specialiting in line art photography as vell as the more conventional 'high street' stuJios. Fxperience can be attaineJ by participating in creative projects in schools. I secureJ a number ol voluntary positions in local schools anJ vorkeJ as an 'Artist in ResiJence' at a preparatory school vhere I taught chilJren to take photographs anJ to vork vith photographic images in the making ol collages, etc. Another methoJ ol gaining experience is to apply lor 'ResiJencies' vhere lunJing can be obtaineJ to vork on one's ovn creative projects abroaJ. I vorkeJ in IinlanJ lor a time on this basis. I covereJ my ovn travel expenses anJ partially paiJ lor materials, stuJio anJ living expenses vere supplementeJ by bursaries. There is a lot ol inlormation on resiJencies on the Internet. Veb pages are highly inJiviJual anJ may vary accorJing to personal specialisms anJ country. Most sites proviJe contacts to approach lor bursaries anJ lunJing. My time is currently JiviJeJ, vorking as a parttime photographer at the School ol VorlJ Art StuJies anJ Museology at the University ol Fast Anglia anJ lreelancing, vhich incluJes teaching evening courses in photography at local aJult eJucation centres, exhibiting my vork anJ vorking through photographic agencies. My vork at the university is a permanent parttime position, it proviJes me vith a steaJy income anJ enables me to support my creative, lreelance enterprises. At the moment 6J percent ol my earnings Jerive lrom my permanent post anJ +J percent lrom lreelancing. My post at UFA incluJes photography lor the reproJuction ol images as sliJes, usually photographing lrom books anJ other sources to make sliJes. I proJuce images lor publication, scanning images Jigitally but also using the traJitional Jark room. VorIing vith hotograhic agencies Although it is possible to generate vork by Jirectly approaching art galleries lor exhibitions, photographic agencies can be a gooJ anJ lucrative source ol lreelance creative vork. There are many Jillerent agencies anJ they can be variable in quality. It is therelore important to be strategic anJ thoroughly research the agencies prior to approach. It is best to contact those that are members ol the British Association ol Picture Libraries anJ Agencies (BAPLA). Agencies are selective anJ vill only take images they are conliJent they can sell. IinJing the right agency lor your vork is extremely important, anJ it is aJvisable to specialite in a particular subject rather than become a 'jack ol all traJes'. It vill take some time to assemble a large CARFFRS IN " HISTORY 0 portlolio ol images vith an agency anJ to begin making sales. Il your vork is accepteJ lor an agency's books you shoulJ receive gooJ aJvice lrom a picture eJitor vho vill vork vith you on your photographic compositions, aJvising on the market anJ vhat vill sell. Registering vith an agency anJ receiving the aJvice ol a picture eJitor is lree but il the agency sells your vork, to a book publisher lor example, its commission coulJ be as much as 5J percent ol your lee. Vhen you unJertake to vork vith an agency reaJ your contract very carelully. Vorking through agencies is a gooJ vay ol marketing your creative vork. To make contact vith agencies, lirst research those you vish to approach, compile an appealing portlolio geareJ tovarJs the type ol vork the agency markets, anJ spenJ time making appointments anJ meeting vith the agencies anJ picture eJitors vho vill promote your vork. The same rules apply to approaching nevspapers anJ magatines alvays research the organitation anJ appear lor meetings vith portlolios ol appropriate images. PersonaI quaIities Sellmotivation, conliJence anJ assertiveness are personal qualities vhich vill help you succeeJ in a competitive market. A lreelance photographer vill require a llexible attituJe to receive constructive criticism lrom picture eJitors vho unJerstanJ the market anJ vill knov vhat it takes to sell one's vork. One ol the main tensions in establishing a career as a creative photographer can be the conllict betveen the neeJ to engage in steaJy, but sometimes routine, paiJ vork vhile builJing a creative repertoire until the point is reacheJ at vhich a regular income is guaranteeJ solely by your creative vork. Nevspaper vork can be creative too, JepenJing on the title! Training StuJents can choose to take a specialist BA in Photography, though it can lorm a component ol other Jegree options lor example, printmaking or graphic Jesign Jegrees. There are approximately 5J art schools in the UK vhich oller this option. There are lists ol these courses online anJ inlormation is available in Jirectories anJ prospectuses. A small number ol postgraJuate courses are available some privileging theory, others practice anJ others enJeavouring to strike a balance. It is essential to carelully research the institution(s) you apply to, so as to ensure the bias ol your course lits vith your objectives. Higher eJucation institutions are increasingly receiving lunJing lrom government initiatives to support the early careers ol art anJ Jesign PHOTOGRAPHY 1 stuJents anJ to incorporate a prolessional practice option into their curricula olten in the lorm ol Creative Fnterprise Centres (CFCs) vhich enable unJergraJuates to learn hov to commercially exploit their 'cralt'. )XUWKHULQIRUPDWLRQ Orgon|zot|ons B|||sn /sscc|O|cn cf P|cu|e ||c|O||es & /genc|es B/P|/}, 18 \|ne ||||, |cnocn EC1R 5DZ t: 020 7713 1780 e: enqu|||es@cOp|O.c|g.u| w: www.cOp|O.ccn !ne B|||sn Ccunc||, 10 Sp||ng O|oens, |cnocn Sw1/ 2BN t: 011 57 7755 e: gene|O|.enqu|||es@c|||snccunc||.c|g w: www.c||ccun.c|g 8ooks/[ourno|s /noy |unoce|g. C/|:|: c| ||e Pec|. w/|||og: co ||c|cg/cc|,, New Yc||: /pe|u|e, 1 ||z we||s eo|c|}, ||c|cg/cc|,. A C/|||cc| |o|/cOuc||co, |cnocn: Rcu|eoge, 2004 w/||e/: coO A/||:|: ec/ccck. Puc||sneo eve|y yeO| cy / & C B|Oc| |nc|uoes ccnOcs, Ogenc|es, ccc| puc||sne|s, ||c|O||es, p||zes ec. c-o |cgcz|oe w: www.O-n.cc.u| |nc|uoes ncnn|y cppc|un||es, |nfc|nO|cn Ono ,ccs fc| p|Oc|s|ng O||ss.
CARFFRS IN " HISTORY 2
FANDOkA MAIhFk-IFF8 Depuy MOnOg|ng D||ecc|, !ne B||ogenOn /| ||c|O|y A career in picture research voulJ be suitable lor anyone vith a keen eye, a gooJ visual memory, organitational skills anJ an ability to clearly unJerstanJ anJ interpret a briel. Because ol the potentially broaJranging subject interests opportunities are open to graJuates lrom a number ol Jisciplines. Vorking as a picture researcher can leaJ to a variety ol roles in a number ol Jiverse areas, ranging lrom book publishing to vorking lor a greetings carJ company. In aJJition, the picture research community has its ovn inJustry, you coulJ enter an inJepenJent picture library, or one vhich is part ol an institution, such as a museum. The vorking environment can be llexible, sometimes enabling a researcher to unJertake lull or parttime lreelance vork lrom home. Picture research has altereJ Jramatically in recent years oving to the revolution in inlormation technology. As a result ol this, buJgets are tighter anJ those commissioning research are more JemanJing in terms ol stanJarJs anJ JeaJlines. The jol A picture researcher is given a briel, vhich requires interpretation. It is necessary to clarily the client's requirements, to establish a buJget anJ any JeaJlines vhich neeJ to be met at the outset. Verily vho vill be responsible lor receiving the images that are selecteJ, hov anJ vhen they vill be returneJ anJ vho is responsible lor paying the invoice anJ terms anJ conJitions ol payment. AJvances in IT mean that most images are nov supplieJ Jigitally, therelore, ensuring that pictures are returneJ is no longer 3 such an issue. An ability to vork inJepenJently is Jesirable, hovever, you are alvays vorking lor a client anJ so gooJ interpersonal skills are requireJ lor the job. Ultimately, picture research is a business anJ you must Jeliver value to vhoever is paying, brieling or employing you. It is essential to be proactive in sourcing material, ollering suggestions anJ generating iJeas lor current anJ luture projects. Clients neeJ to be nurtureJ anJ resources cultivateJ in orJer to establish anJ maintain a successlul career. Iullilling a briel comes vith practice anJ it can be learneJ by observing experienceJ researchers. Many researchers have an area ol specialism anJ this, combineJ vith general knovleJge anJ a gooJ memory, vill serve you vell. Projects can be Jiverse, anJ may require accessing many sources, incluJing picture libraries, institutions, museums anJ photographers, lor the relevant material. This may even require liaison vith overseas institutions. Be avare that some charge hire or service lees, expenses that vill have to come out ol the client's buJget. Obtaining the images at a reasonable price anJ to JeaJline may require tenacity anJ excellent interpersonal skills. QuaIiIications Qualilications can vary accorJing to the employer. Vithout a Jegree it may be possible to linJ an entree through a junior position or vork experience anJ internships. Ior many employers a Jegree is a minimum requirement, prelerably accompanieJ by some relevant experience. Picture research courses are available but are not a prerequisite lor linJing employment. Iinding a jol Research anJ reaJ relevant journals such as \isa:ii Iot:roetiooei. Art history graJuates shoulJ also reaJ museum, art anJ historical publications such as 1|: Art X:wse:r anJ Vas:am X:ws (s:: Iurther inIormation). IinJ out the key players in the area that interests you the most. Fxamples incluJe Getty Images lor picture libraries, Penguin lor publishing, anJ the BBC picture research Jesk lor TV. The Internet enables one to easily research prominent names in specialist areas. Be avare ol key issues allecting the inJustry anJ keep abreast ol them. Fxamples incluJe copyright changes, technological Jevelopments, buyouts, takeovers, anJ issues allecting pricing anJ supply ol pictures. ]oin any relevant organitations that aJmit noninJustry members. Fxamples incluJe becoming a IrienJ ol a museum, joining associations such as the AAH anJ the Picture Research Association (s:: Iurther inIormation). CARFFRS IN " HISTORY 4 Remember to netvork anJ maintain contact vith the stuJents you meet Juring your years at university they vill make gooJ contacts lor the luture vhether or not they can Jirectly help you linJ a job. Research hov jobs are aJvertiseJ anJ posteJ. These incluJe the Internet (see, lor instance, the British Association ol Picture Libraries anJ Agencies. vebsite Jetails in Iurther inIormation), MonJay's 1|: Caercieo anJ relevant magatines (s:: Iurther inIormation). Prospect companies you are interesteJ in to linJ out vhere they aJvertise. Research the Jillerent jobs available in the inJustry anJ inJiviJual companies you are seeking to join. In a picture library a picture researcher is just one ol many roles, not the only option, anJ it is alvays possible to make a siJevays move lrom an existing job. The BriJgeman Art Library, one ol a number ol art libraries in the UK, is a line art photo archive anJ requires arts graJuates lor picture research or cataloguing. Hovever, there are also other options in the company, such as rights negotiation, marketing, aJministration, scanning, vorking vith contemporary artists, IT or PA vork. ConsiJer hov you might establish a connection vith a potential employer. Ask il you can shaJov a researcher lor a Jay, or il you can Jo a veek's/month's voluntaryvork experience. Fnquire about an internship (even il no programme currently exists) tell the employer il you have a skill vhich you can oller Juring your internship. The BriJgeman Art Library ollers vork experience in all its ollices anJ has an ollicial internship programme open to anyone in its Nev York ollice. Apply lor everything. Search harJ not only lor those jobs vhich are immeJiately relevant but also those on the periphery ol your sphere ol interests. Vorking lor a year or tvo in an associateJ inJustry coulJ be the steppingstone to an iJeal position anJ vill give you time to Jevelop contacts. Interviev experience is never vasteJ vhether or not it results in a job. Vhilst all this might seem a lot ol vork lor no guaranteeJ return it vill be time saveJ later, giving you a heaJ start once you get a job. Iurthermore, the vork Jone in researching the inJustry alone vill hone your skills as a researcher!
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B|||sn /sscc|O|cn cf P|cu|e ||c|O||es Ono /genc|es B/P|/}, 18 \|ne ||||, |cnocn EC1R 5DZ t: 020 7713 1780 e: enqu|||es@cOp|O.c|g.u| w: www.cOp|O.c|g.u| Des|gn Ono /||ss Ccpy||gn Scc|ey D/CS}, 33 |eO Sucn S, |cnocn EC1\ 0DX t: 020 733 8811 e: |nfc@oOcs.c|g.u| w: www.oOcs.c|g.u| !ne /sscc|O|cn cf Pnccg|Opne|s /P}, 81 |ecnO|o S, |cnocn EC2/ 4S t: 020 773 e: gene|O|@Ocpncc.cc.u| w: www.ne-Ocp.c|g |C/| |ne|nO|cnO| !ne |eoe|O|cn cf Ccnne|c|O| /uo|cv|suO| ||c|O||es |ne|nO|cnO| |o}, PenOx |cuse, Scun |||| /venue, Scun |O||cw |/2 0Dd t: 020 8423 5853 e: |nfc@fccO||n.c|g w: www.fccO||n.c|g /n c|gOn|zO|cn spec|O||z|ng |n p|cu|e |eseO|cn |n ncv|ng fccOge Ono !\. /R||S /| ||c|O||es Scc|ey}. /R||S/dK & ||e|Ono, !ne Ccu|Ou|o |ns|ue cf /|, Scne|se |cuse, !ne S|Ono, |cnocn wC2R 0RN t: 020 7848 2703 e: O|||s@ccu|Ou|o.Oc.u| w: www.O|||s.c|g.u| 8ooks/mogoz|nes/newspopers |||O|y Ono MO|y EvOns, ||c|u/e Pe:ec/c|e/: coOccck, 8n eo||cn, |eOne|neOo: P||O |ne|nO|cnO|, 200. /vO||Oc|e f|cn MO|y EvOns P|cu|e ||c|O|y, 5 !|Onqu|| \O|e, B|Oc|neOn, |cnocn SE3 0BS t: 020 8318 0034 e: p|cu|es@nO|yevOns.ccn w: www.nO|yevOns.ccn Ju||On JOc|scn, ||c|u/e Pe:ec/c| |o c D|g||c| Age [eccc|| w: www.p|cu|e-|eseO|cn.c|g.u|/p|oO.nn ||e A/| |ew:ccce/ w: www.neO|newspOpe|.ccn Ccmcc|go w: www.c|Ono|epuc||c.ccn/nOgOz|nes/cOnpO|gn/|noex.cfn ||e Ouc/O|co w: ,ccs.guO|o|On.cc.u| |eO|c week w: www.neo|Owee|.ccn/neo|Owee|/|noex.,sp |uc||:|e/: week|, w: www.puc||sne|swee||y.ccn \|:ue|| |o|e/oc||coc| w: www.p|Og.oe/cg|-c|n/eng/|cc.p| CARFFRS IN " HISTORY JANF AIIFN |eOo cf ||sc||cO| Ono C|||cO| Suo|es, |Osgcw Scncc| cf /| O ver the past ten years an increasing number ol artists, Jesigners anJ art historians have become vhat might best be JescribeJ as counter jumpers. As art history anJ cultural stuJies have become lamiliar leatures ol the curriculum in art schools some artists anJ Jesigners have become increasingly interesteJ in research, theory anJ art history, anJ, concomitantly, some art anJ Jesign historians have begun to Jevelop their ovn practice. There are ol course lamous preceJents lor this in Marcel Duchamp anJ Max Frnst, but this is nov a relatively commonplace phenomenon. InJeeJ, the vork ol Simon Starling, the 2JJ5 Turner Prite vinner, vas heralJeJ as researchbaseJ art. Clearly, the iJea ol practice baseJ research has become embeJJeJ in UK art schools lrom AberJeen to Ialmouth anJ artisttheorists anJ theoristartists have starteJ to tutor anJ supervise the emergent practicebaseJ researchers. This nev breeJ ol practitioner researchers can be exciting anJ challenging to vork vith, requiring thoughtlul anJ responsive teaching vhich goes vell beyonJ the stanJarJ art history curriculum ol art schools anJ certainly cannot be JescribeJ as service teaching (s:: Teaching: Art & Design CoIIeges chapter). As higher eJucation begins to expanJ at postgraJuate level opportunities lor practitioner theorists are increasing anJ suitably qualilieJ graJuates may linJ vork as PhD coorJinators or as Masters ol Research Programme LeaJers or Tutors. The key skill is the ability to make anJ explore links betveen theory anJ practice anJ to Jevelop the potential lor artist anJ Jesigner research. 7 It is quite likely that currently those interesteJ in the emergent lielJ ol practicebaseJ research vill themselves have PhDs or a backgrounJ in art school teaching. These nev posts can be lounJ aJvertiseJ in 1|: 1im:s Ei|:r Fcacetioo Sai:m:ot or 1|: Caercieo, as art schools become increasingly researchorienteJ such positions vill become more commonplace. The Arts anJ Humanities Research Council (AHRC) as vell as the UK HF IunJing Councils require the Jelivery ol structureJ research training programmes anJ Schools ol Art are beginning to appoint the nev breeJ ol artist/ researcher/teacher to Jeliver these as art anJ Jesign take their place lully in the research acaJemy on a par vith the other humanities Jisciplines. The JiviJe betveen artists, Jesigners, historians anJ theorists vill cease to exist anJ the articulate artistresearcher vill be the norm. Teaching anJ tutoring this nev breeJ is both exciting anJ vorthvhile as a recent supervisory experience vith a PhD stuJent vhose vork straJJleJ jevellery, phenomenology anJ architecture certainly taught me. So, il that blenJ ol research, practice anJ teaching leels right to you it is vell vorth becoming involveJ as currently there are all too lev people villing to take up the reins. )XUWKHULQIRUPDWLRQ Job Advert|sements ||e Ouc/O|co w: ,ccs.guO|o|On.cc.u| ||e ||me: |g|e/ FOucc||co Succ|emeo| Z www.nes.cc.u| 8ooks/[ourno|s CO|c|e |Oy Ono Ju||On MO||ns, \|:uc||z|og Pe:ec/c|. A Ou|Oe |c ||e Pe:ec/c| |/cce:: |o A/| coO De:|go, /|oe|snc: /sngOe, 2004 |Oene Su|||vOn, A/| |/cc||ce c: Pe:ec/c|. |oqu|/, |o ||e \|:uc| A/|:. |cnocn: SOge, 2005 wc/k|og |cce/: |o A/| coO De:|go. e:cec|c||, \c|ume 3. w: www.ne|s.Oc.u|/O|oes1/|eseO|cn/pOpe|s/wpOoes/vc|3/|noex.nn| CARFFRS IN " HISTORY 8 T his prolession may be consiJereJ a Jerivative ol art librarianship (s:: Art Iilrarianshi chapter), though vorking vith entirely Jillerent meJia. In common vith any other career associateJ vith the arts it is highly competitive. Vhat is invoIved: This can vary greatly vithin Jillerent institutions, sliJe librarians are employeJ in the higher eJucation sector anJ in the museums/galleries vorlJ. Some ol the routine tasks you might be expecteJ to carry out are. collection management, cataloguing anJ accessioning nev material, picture research, tracking Jovn suppliers anJ purchasing nev stock, sliJe photography (vhere there is no separate photographic service Jepartment), basic maintenance anJ installation ol sliJe anJ Jata projection equipment (vhere there is no extra auJiovisual support), assisting library users vith their image requests, incluJing vorking through their iJeas lor seminars/ lectures anJ maintenance ol an electronic catalogue (vhere one exists). Vhere sliJe librarians are involveJ in Jigititation projects (either in higher eJucation or in museums/galleries), traJitional librarians' skills, such as Jata control anJ knovleJge ol copyright, together vith nev technical skills relating to the Jigital environment, are also applieJ. SIide Iilrarianshi in the 2Ist Century The role ol the sliJe librarian is currently shilting anJ evolving to keep pace vith the unJeniable increase in JemanJ lor Jigital images rather than sliJes. Some might suggest that this move ostensibly signals the beginning ol the enJ ol the sliJe librarian's prolession. Iortunately, this is not the case, lirst JFNNY GODFkFY |nfc|nO|cn /ov|sc|, CO|o|ff Scncc| cf /| Ono Des|gn, dn|ve|s|y cf wO|es |ns|ue, CO|o|ff ICkY 8kOWN S||oe Cu|Oc|, ||sc|y cf /| Dep, dn|ve|s|y cf xfc|o
because 35mm sliJes are still lavoureJ by many, especially in locations vhere Jata projectors are unavailable anJ, seconJly, because the skills ol the sliJe librarian are still neeJeJ in the Jigital environment. In higher eJucation institutions, copyright constraints are preventing large scale Jigititation ol sliJe collections, even il this situation vere to alter, it voulJ be both unrealistic anJ unJesirable to Jigitite entire collections. InsteaJ, institutions are laceJ vith the possibility ol subscribing to commercial schemes, anJ topping up vith more specialist material createJ inhouse as anJ vhen it becomes possible to Jo so legally (DACS, the Design anJ Artists Copyright Society, have yet to come up vith a Jigital equivalent ol their current 'SliJe Collection Licensing Scheme', vhereby subscribers can legally practise photography). Subsequently, it is envisageJ that there vill be a perioJ vhere Jigital vill run in tanJem vith analogue, thus the role ol the sliJe librarian, lar lrom becoming reJunJant, is evolving into that ol an 'image librarian' or 'curator', requiring an aJJitional range ol specialist skills anJ knovleJge to match the nev role. Although this might heralJ a perioJ ol uncertainty, it is an exciting time to become involveJ in this particular sector. There are also a variety ol organitations anJ agencies that can proviJe support anJ aJvice vhen requireJ (s:: Iurther inIormation). Some people vho vork in sliJe libraries are responsible lor more than just a 35 mm sliJe collection. they might lirst anJ loremost be subject specialists vith other meJia to Jeal vith, such as paper ephemera, archives, photographs or auJiovisual material. In this sense, the role ol sliJe librarian very olten evolves out ol other prolessions anJ cannot alvays be separateJ lrom them. Therelore, it shoulJ come as no surprise that there is no ollicial qualilication or a generally accepteJ level ol eJucation that one must have to enter this prolession, hovever, most vill at least have stuJieJ to an unJergraJuate level, anJ a postgraJuate qualilication in Librarianship or Inlormation Management is Jesirable. In the vorlJ ol museums, art galleries anJ archives, vhere there are many more Jigititation projects taking place, the skills ol an art historian, especially vhen allieJ to those ol a librarian, can also be uselully JeployeJ. Iinally, some institutions take on stuJents to help out in the JaytoJay running ol their image collections, this is a uselul vay ol both getting experience anJ a taste ol vhat is involveJ. CARFFRS IN " HISTORY 100 )XUWKHULQIRUPDWLRQ Orgon|zot|ons /sscc|O|cn cf Cu|Oc|s cf /| Ono Des|gn |nOges /C/D|} w: ex|O.snu.Oc.u|/OcOo| /C/D| p|cv|oes O usefu| newc|| cf suppc| fc| v|suO| |escu|ces cu|Oc|s n|cugncu ne dK. /|s Ono |unOn||es DOO Se|v|ce /|DS} 22 D|u|y |One, 3|o f|cc|, K|ng's Cc||ege, |cnocn wC2B 5R| t: 020 7848 188 e: |nfc@Onos.Oc.u| w: www.Onos.Oc.u|. /|DS `cc||ecs, p|ese|ves Ono p|cnces e|ec|cn|c |escu|ces |n ne O|s Ono nunOn||es'. /R||S /| ||c|O||es Scc|ey}. \RC \|suO| Rescu|ces Ccnn|ee}. /R||S/dK & ||e|Ono, !ne Ccu|Ou|o |ns|ue cf /|, Scne|se |cuse, !ne S|Ono, |cnocn wC2R 0RN t: 020 7848 2703 e: O|||s@ccu|Ou|o.Oc.u| w: www.O|||s.c|g.u|/ccnn/v|c/|noex.nn| Des|gn Ono /||ss Ccpy||gn Scc|ey D/CS}, 33 |eO Sucn S, |cnocn EC1\ 0DX t: 020 733 8811 w: www.oOcs.c|g.u|. D/CS cu||en|y |un O ||cens|ng scnene wn|cn O||cws sucsc||ce|s c |egO||y cO||y cu ccpy pnccg|Opny see ne|| wecs|e fc| fu|ne| oeO||s |nc|uo|ng `!e|ns Ono Ccno||cns'}, ney O|sc p|cv|oe usefu| |nfc|nO|cn |egO|o|ng ccpy||gn, espec|O||y |e|O|ng c O| wc||s Ono ne|| c|eOc|s :ee Art I|oens|ng cnOpe| p.15}. !ecnn|cO| /ov|sc|y Se|v|ce fc| |nOges !/S|}, |ns|ue fc| |eO|n|ng Ono ReseO|cn !ecnnc|cgy, dn|ve|s|y cf B||sc|, 8-10 Be||e|ey SquO|e, B||sc| BS8 1|| t: 0117 28 701 e: |nfc@Os|.Oc.u| w: www.Os|.Oc.u| !/S| p|cv|oes Oov|ce Ono suppc| cn O|| nOe|s ccnce|n|ng o|g|O| |nOg|ng, Os we|| Os |unn|ng p|Oc|cO| ccu|ses ccve||ng ne sOne. \|suO| Rescu|ces /sscc|O|cn \R/} w: www.v|Owec.c|g !ne \R/ |s On |ne|nO|cnO| c|gOn|zO|cn fc| |nOge p|cfess|cnO|s wncse cc||ec|cns ncs|y suppc| ccu|ses |n O|, oes|gn, O|cn|ecu|e Ono O| Ono oes|gn n|sc|y. Mcs cf nese |nOge p|cfess|cnO|s wc|| |n cc||eges, un|ve|s||es, gO||e||es Ono nuseuns, p|eocn|nOn|y, cu nc exc|us|ve|y, |n /ne||cO. SLIDF LIBRARIANSHIP 101 MA0kFFN FAkk |ecu|e|, \|suO| /|s, DepO|nen cf /ou| Ono Ccn|nu|ng EoucO|cn, dn|ve|s|y cf |Osgcw T he lielJ ol aJult eJucation has expanJeJ signilicantly in recent years. GovernmentlunJeJ initiatives as vell as nongovernmental organitations such as The National Institute ol AJult Continuing FJucation (NIACF) promote lilelong learning through viJening access to learning opportunities throughout the UK. Many universities anJ Local FJucation Authorities (LFAs) oller aJult eJucation programmes. Art history has become an extremely popular subject lor aJults, anJ an increasing number ol teaching opportunities have openeJ up to art historians. Vhile lev lulltime lecturing posts in aJult eJucation exist, there are opportunities lor art historians to vork as parttime tutors. Tutors require a gooJ honours Jegree anJ have, or be pursuing, postgraJuate qualilications in art history (e.g. MPhil or PhD). Teaching aJults can be a most challenging anJ revarJing experience. Mature stuJents return to stuJy lor many Jillerent reasons, personal anJ career motivateJ. They may have misseJ out on eJucational opportunities in their younger years or vish to return alter a break in their eJucation Jue to lamily or vork commitments. Some vill be seeking entry to lulltime stuJy or to enhance their career prospects. Others vill come simply because ol their interest in art history. As a result, a class may be composeJ ol those vho have little or no prior knovleJge ol the subject anJ others vho have lrequenteJ major art galleries anJ reaJ viJely on art over many years. Tutors neeJ to be sensitive to such Jiversity anJ be prepareJ to take a llexible approach to their teaching. Pitching the lectures at a level appropriate to the class is a skill that is acquireJ through practice. 102 Mature stuJents are usually highly motivateJ, enthusiastic anJ keen to learn. Because their knovleJge base anJ lile experience is broaJer than that ol younger stuJents, they can olten ask challenging questions, anJ tutors can learn a great Jeal lrom the experience. AJults pay lor these classes anJ expect high levels ol knovleJge, prolessionalism anJ commitment lrom their tutors, therelore, gooJ preparation is essential. Tutors are expecteJ to proviJe stuJent support material lor each class course notes, bibliographies ol recommenJeJ reaJing, uselul vebsites, etc. Devising a nev course ol lectures is timeconsuming anJ the rate ol pay olten lov, but the experience ol teaching aJults is an excellent learning opportunity lor young graJuates. Most classes vill be taught, Jaytime or evening, on campus, but some learning proviJers also oller ollcampus vork. Ior example, Glasgov University's Department ol AJult anJ Continuing FJucation proviJes courses throughout the vest anJ southvest ol ScotlanJ. Types ol courses incluJe general interest classes vith no course vork, classes vith a small amount ol assesseJ vork, anJ courses carrying qualilying creJit at all levels ol unJergraJuate vork, requiring lull assessment anJ marking by tutors. Courses can run lor a perioJ ol a lev veeks, one semester or the lull acaJemic session, September or October to ]une. StuJy Jays on a specilic topic such as an artist or school ol painters coinciJing vith major exhibitions ol their vork are also popular. Most courses vill require a minimum number ol stuJents (usually about ten) belore the class vill run. Unlike mainstream university teaching, classes may begin small, allorJing the tutor an opportunity to get to knov the class. Mature stuJents tenJ to become loyal to a tutor anJ may vish to attenJ lurther classes so, vhile some classes can be repeateJ annually, it may become necessary lor tutors to Jesign nev courses each session. Teaching aJults is JemanJing but the benelits can be signilicant. Observing the progress ol nev stuJents, vith no previous knovleJge ol art history, as they become enthuseJ by the subject, reaJing books, visiting art galleries, talking anJ vriting lluently on art, is a revarJing experience. Ior aJult eJucation tutors, the experience ol preparing anJ Jelivering a range ol art history courses vithin their specialist subject can enhance their luture career prospects. Many tutors vho have gaineJ early experience in aJult eJucation have gone on to linJ lulltime teaching posts in university art history Jepartments. TFACHING 103 )XUWKHULQIRUPDWLRQ Job odvert|sements ||e ||me: |g|e/ FOucc||co Succ|emeo| !|ES} w: www.nes.cc.u| |ccO| Ono nO|cnO| p|ess | |s O|sc n|gn|y |eccnnenoeo nO ycu w||e o||ec|y c un|ve|s||es c| |ccO| Ounc||y eoucO|cn oepO|nens, enc|cs|ng ccu|se p|cpcsO|s Ono O fu|| C\. |f ycu |ece|ve nc |espcnse, fc||cw n|s up w|n O pncne cO|| c| enO||. Rec|u|nen cf new pO|-|ne uc|s |s cus|es |n ne pe||co, JOnuO|yMOy. 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||cc|, 35 COneo|O| Ro, CO|o|ff C|11 |B t: 0220 37000 e: enqu|||es@n|Oceoc.c|g.u| w: www.n|Oceoc.c|g.u| |eO|n|ng Ccnnec|cns, Ccnnun||es Scc|Ono, !n|s|e |cuse, 1 |OynO||e !e||Oce, Eo|ncu|gn E|12 5|E t: 0131 313 0044 e: |eO|n|ngccnnec|cns@ccnnun||esscc|Ono.gs|.gcv.u| w: www.|c.ccnnun||esscc|Ono.gcv.u| !ne pen dn|ve|s|y w: www.cpen.Oc.u| :ee Ieooh|ng: Open 0n|vers|ty cnOpe| fc| ccnp|ee oeO||s.} DepO|nen fc| EoucO|cn Ono S||||s, ||fe|cng |eO|n|ng, COxcn |cuse, !cn||| S, |cnocn Sw1| |N t: 0870 000 2288 e: |nfc@ofes.gs|.gcv.u| w: www.||fe|cng|eO|n|ng.cc.u| wc||e|s' EoucO|cnO| /sscc|O|cn w: www.weO.c|g.u| :ee Ieooh|ng: Workers' Fduoot|ono| Assoo|ot|on cnOpe| fc| ccnp|ee oeO||s.} Courses n|y O few un|ve|s|y eoucO|cn oepO|nens cffe| pcsg|OouOe |O|n|ng |n Oou| eoucO|cn. DeO||s cOn ce fcuno |n ne cu||en N|/CE /ou| |eO|n|ng YeO|ccc|. Mcs Oou| eoucO|cn p|cv|oe|s w||| nOve |nfc|nO| |O|n|ng Ono suppc| p|cg|Onnes fc| ne|| uc|s. 8ooks/[ourno|s /|On Rcge|s, |ecc||og AOu||:, n||o eo||cn, Buc||ngnOn Ono Pn||Ooe|pn|O: pen dn|ve|s|y P|ess, 2002 Yvcnne |||||e|, Pe||ec||.e |ecc||og |o |u/||e/ coO AOu|| FOucc||co, seccno eo||cn, |cnocn Ono New Yc||: Ccn|nuun, 2005 AOu|| |ec/o|og ec/ccck, Jcu/oc| c| AOu|| coO Cco||ou|og FOucc||co J/CE}, S|uO|e: |o ||e FOucc||co c| AOu||:, O|| puc||sneo cy N|/CE CARFFRS IN " HISTORY 104 Art & Design CoIIeges IO8hIO WAIANA8F D||ecc|, ReseO|cn Cen|e fc| !|OnsnO|cnO| /|, |oen|y Ono NO|cn !|/|N} Ono P|cfessc| cf ||sc|y cf /| Ono Des|gn, Cne|seO Cc||ege cf /| & Des|gn, dn|ve|s|y cf ne /|s, |cnocn T eaching art history at art anJ Jesign colleges proviJes the graJuate vith exciting anJ Jiverse career opportunities. Although the olJ Council lor National AcaJemic AvarJs (CNAA) requirement ol 2J percent art history anJ complementary stuJies lor practical art anJ Jesign BA courses is long gone, most courses proviJe an equivalent amount ol such teaching. As a historian it is very revarJing to become Jirectly involveJ in the creation ol art anJ Jesign, although it has its ovn problems. Some art stuJents are lrighteneJ ol, or at times even hostile to, the Jiscipline ol art history. To make art history not only attractive but, more importantly, vorthvhile lor these stuJents is a major challenge ol the job (s:: The Practising Artist chapter). A career in art anJ Jesign colleges also allovs viJe scope lor teaching anJ research in unorthoJox, interJisciplinary or nevly relevant subjects, as the teaching is rarely conlineJ to narrovly prescribeJ exam topics. Ior example, since the I9Js signilicant Jevelopments in Jesign history have taken place vithin British art colleges anJ laculties. Some teaching on non Vestern art is also very common. On the vhole, the teaching centres on issues lrom the perioJ ol the postInJustrial Revolution, vith a strong emphasis on the tventieth anJ tventylirst centuries. In many art colleges art historians are seen as 'servicing' the stuJio subjects, vhich coulJ leaJ to the marginalitation ol the subject anJ the lecturer vithin the institution. Colleges vhere there are no Jepartments/units ol art history anJ vhere art historians are attacheJ to stuJio Jepartments are very 105 CARFFRS IN " HISTORY 10
TrAlN, Tbe Unlverslty o| tbe Arts Pesearcb Centre |or Transnatlonal Art, |dentlty and Natlon ls a |orum |or blstorlcal, tbeoretlcal and practlce-based researcb ln arcbltecture, art, communlcatlon, cra|t and deslgn. Focusslng on bow tbe movement o| botb people and arte|acts breaks down borders and produces new ldentltles beyond tbose o| tbe natlon state, tbe Centre alms to contrlbute to botb creatlvlty and cultural understandlng. Tbls collaboratlve venture lnvolves lnternatlonally recognlsed scbolars and practltloners at Camberwell College o| Arts, Cbelsea College o| Art & Deslgn and Central Salnt Martlns College o| Art & Deslgn. Tbe TrA|N Pesearcb Centre supports tbe dlssemlnatlon o| arlslng lssues and debates by organlslng publlc eblbltlons and events as well as researcb projects. |nvlted speakers take part ln an Open Lecture Serles on Transnatlonal Art beld on alternate Tuesdays eacb term. For |ull detalls o| tbe course, and otber TrA|N actlvltles, please contact Dr |sobel Wbltelegg Pesearcb Centre Admlnlstrator l.wbltelegg@cbelsea.arts.ac.uk (020) 7514 2165 For more ln|ormatlon please vlslt. www.arts.ac.uk/researcb/17636.btm A PbD Skllls Tralnlng Course at tbe Unlverslty o| tbe Arts, London, bosted by TrA|N. Lstabllsbed ln collaboratlon wltb Klngston Unlverslty and tbe Poyal College o| Art, tbe course wlll be open |ree o| cbarge to a llmlted number o| PbD students |rom otber unlversltles |or tbe year 2006-07. Theory & Practice of TransnationaI Art vulnerable. Some art colleges have JevelopeJ courses relateJ to art history. This counters the Janger ol marginalitation anJ proviJes opportunities lor teaching specialiteJ subjects. PostgraJuate research Jegrees are also becoming more common at art colleges. A lecturer at an art college neeJs to be prepareJ to teach a viJe range ol issues, especially on current art anJ culture, in orJer to responJ to stuJent interests anJ neeJs. Olten the art historian is also regarJeJ as the inhouse expert on anything Jealing vith theory. Most assessments are baseJ on essays/Jissertations, the topics ol vhich are proposeJ by the stuJent. This means you have to guiJe/assess a stuJent on topics you have never Jealt vith belore. This can be both challenging anJ enriching. An interest in teaching anJ learning skills is also a positive asset lor graJuates looking lor employment in art colleges. Most lulltime jobs in art colleges are aJvertiseJ in the Fcacetioo Caercieo anJ 1|: 1im:s Ei|:r Fcacetioo Sai:m:ot (s:: Iurther inIormation). Usually you neeJ at least an MA, anJ holJing a PhD is a Jistinct aJvantage. Research is becoming more anJ more important lor art colleges, anJ to have a soliJ publication recorJ or to have major publications lineJ up lor release vithin the next lev years voulJ be an aJvantage. In reality, most lulltimers start their careers as lreelance parttimers (s:: IreeIance VorI chapter). Iractional posts, such as J.5 ol a lulltime post, are becoming more common anJ may suit graJuates vho have commitments, such as vriting a PhD, looking alter a lamily or other interests. In orJer to comply vith their equal opportunities policies many institutions publicly aJvertise all their parttime posts, though not necessarily in the above publications. Il you have a particular institution in minJ, olten you can preregister your interest in getting vork belore a job becomes available. Vacancies are also routinely aJvertiseJ on institutional vebsites. It useJ to be that no lormal teaching qualilications vere requireJ, but this is changing anJ postgraJuate Jegrees in relevant lielJs anJ/or a PGCF teaching qualilication are uselul. At some ol the institutions teaching qualilications are becoming compulsory, but olten you can get traineJ alter starting your job. AttenJing conlerences ol the AAH or other more specialiteJ associations such as the Design History Society is a very important vay ol getting to knov people vho might employ you. Giving papers at such conlerences is even better. Prospective employers vill be looking lor someone vho not TFACHING 107 only has subject expertise but also is capable ol clear, lively anJ prolessional presentation. Art anJ Jesign stuJents have a very lov thresholJ ol tolerance lor Jull anJ boring lectures! SenJing unsoliciteJ letters to potential employers vhom you have alreaJy met at a conlerence can be vorthvhile. Be carelul vhom you choose as your relerees. They shoulJ be people vho knov your vork, anJ vho are regularly kept up to Jate vith vhat you are Joing, they can make uselul inlormal contacts lor you too. Il you get the job, alvays tell the relerees vhat happeneJ anJ thank them, you may neeJ their help again in the luture. )XUWKHULQIRUPDWLRQ Job odvert|sements ||e ||me: |g|e/ FOucc||co Succ|emeo| w: www.nes.cc.u| FOucc||co Ouc/O|co w: eoucO|cn.guO|o|On.cc.u| Orgon|zot|on Des|gn ||sc|y Scc|ey e: wecOon|n@oes|gnn|sc|yscc|ey.c|g w: www.oes|gnn|sc|yscc|ey.c|g
CARFFRS IN " HISTORY 108 FkONICA DAIF8 /sscc|Oe |ecu|e|, pen dn|ve|s|y T he Open University (OU) ollers supporteJ open learning lor parttime stuJents in the UK anJ abroaJ. Most are mature stuJents lolloving unJergraJuate programmes vhile vorking anJ/or meeting personal commitments. Due to the 'open' nature ol the university, many have not lolloveJ a conventional eJucational route to unJergraJuate stuJy, but olten have experience anJ qualities vhich compensate lor this. The unJergraJuate programme generally involves stuJying courses at three levels, each ol vhich is vorth either 3J or 6J points, JepenJing on the amount ol stuJy time involveJ. StuJents typically unJertake 6J points ol stuJy per year, vith an upper annual limit ol I2J points. To gain an honours Jegree, a stuJent must gain 36J points, I2J ol vhich must be at level 3. Some stuJents are stuJying lor certilicates or Jiplomas, there is also a boJy ol postgraJuate stuJents, vith a groving number ol Masters courses being ollereJ. Teaching is baseJ on course material vritten by central acaJemics, most ol vhom are baseJ at the OU heaJquarters in Milton Keynes, vith some baseJ at one ol the I3 regional centres. This is supplementeJ, JepenJing on the course, by set books anJ reaJers, specially proJuceJ auJiovisual material, anJ optional tutorials vhich may be JelivereJ lacetolace, by telephone or, increasingly, as etuition. UnJergraJuate courses start vith Level I, vhere stuJents are introJuceJ to all the Jisciplines in the laculty. Level 2 courses are mainly broaJbaseJ singlesubject courses, vhilst thirJ level courses require a stanJarJ equivalent to the last year ol an honours Jegree elsevhere. There are also a 10 lev seconJ anJ thirJ level interJisciplinary courses. The Arts Iaculty ollers a number ol short, introJuctory courses locussing on stuJy skills, anJ a range ol MA programmes. The Art History MA starteJ in 2JJ+ anJ runs over three years, vith lounJation, subject anJ Jissertation moJules. EmIoyment Ior OU employment opportunities, the best source ol inlormation is the OU vebsite (s:: Iurther inIormation). All current vacancies are listeJ there unJer the general heaJing ']obs at the OU', as vell as being aJvertiseJ in the national press. The lolloving categories ol employment exist. C:otrei Acec:mics The Art History Department is baseJ at Milton Keynes, but, because ol the structure ol the OU, this is not a campus vith unJergraJuate stuJents, anJ the teaching lunctions ol the central acaJemics are to plan, vrite, Jeliver, monitor anJ maintain Jistance learning courses leaJing to BA anJ MA Jegrees. The Department also has a strong research base. As vith all university posts, vacancies are inlrequent anJ very competitive. Stejj 1ators The Arts Iaculty has one or tvo Stall Tutors (in some cases assisteJ by Iaculty Managers) in each ol the OU's regional ollices. These are acaJemic posts, vith responsibility lor the aJministration ol the Iaculty's courses in their region. This incluJes the appointment ol Associate Lecturers to teach in the region, anJ organitation anJ oversight ol their prolessional Jevelopment. Stall Tutors also lrequently have a role in the Jevelopment ol nev courses as members ol course teams. As vith central acaJemics, the number ol vacancies is small. Associet: L:ctar:rs Associate Lecturers (ALs) are parttime stall appointeJ on a regional basis to tutor a particular course. The lull range ol their Juties, anJ a person specilication, can be lounJ on the OU vebsite. All tutors are nov expecteJ to use ICT in some lorm in their vork. A key part ol the tutor's role is marking anJ giving vritten leeJback on stuJents' essays (typically seven assignments lor a 6J point course). Ior many stuJents, their course tutor is their main point ol contact vith the university, anJ tutors neeJ to be available to inJiviJual stuJents by phone, email or letter, as vell as running regular (though beyonJ Level I not alvays lrequent) group tutorials. Iull Jetails ol the recruitment process are on the vebsite. AJvertisements lor AL posts appear lrom time to time, JepenJing on course start Jates. There are not alvays vacancies lor all courses or in all regions, there are CARFFRS IN " HISTORY 110 usually, hovever, more vacancies vhen a nev course is starting. Ior this reason you shoulJ not be JiscourageJ lrom applying again il you are unsuccesslul the lirst time, anJ it is vorth looking out lor current vacancies on the vebsite. The current (2JJ6) courses ol most interest to art historians are as lollovs. IeveI I. Ao Iotrocactioo to t|: Eameoiti:s incluJes a general introJuction to the Jiscipline ol art history, anJ a case stuJy on Rothko anJ Varhol, as part ol an interJisciplinary section on the Sixties. There is a strong element ol stuJy skills teaching, anJ there are more local lacetolace tutorials than vith higher levels. A version ol this course, vhich is mainly taught online, has also recently been launcheJ. IeveI 2. Art eoc its Eistori:s is a popular course vhich introJuces art historical methoJs anJ issues, ranging viJely historically, lrom the Parthenon marbles to Tate MoJern. IeveI 3. Art oj t|: 1w:oti:t| C:otarv examines critically anJ in Jepth the changes in art anJ relateJ theoretical issues over the last century. Art, Soci:tv eoc P:iiioo io Si:oe, Fior:oc: eoc Pecae I2:0I+00 examines the relative claims ol Ilorence anJ other cities to have playeJ a key role in the Italian Renaissance. This course vill enJ in 2JJ6, to be replaceJ in 2JJ vith P:oeisseoc: Art P:coosic:r:c. Disiev eoc D:votioo P:iiioas Peiotio io Iteiv I`00I500, a 3Jpoint project course, ollers stuJents the opportunity ol unJertaking inJepenJent stuJy, anJ has no examination. There are also some interJisciplinary courses vith an art history component, incluJing From Foii|t:om:ot to Pomeoticism (Level 2) anJ 1|: P:oeisseoc: io Faro: e Caitarei Foairv (Level 3). P:sic:otiei Sc|ooi 1ators Ol the above courses, only Art oj t|: 1w:oti:t| C:otarv has a summer school. Tutors are recruiteJ inJepenJently lor these posts, vhich are aJvertiseJ in ]anuary. Remuneration is quite gooJ, but the veek can be JemanJing anJ stamina is neeJeJ, as vell as the appropriate acaJemic skills. )XUWKHULQIRUPDWLRQ !ne pen dn|ve|s|y, wO|cn |O||, M||cn Keynes MK7 // p: P Bcx 17, M||cn Keynes MK7 BJ t: 0870 333 4340 e: gene|O|- enqu|||es@cpen.Oc.u| w: www.cpen.Oc.u| TFACHING 111
CAkOI JACO8I B|||cec| Cc||ege, dn|ve|s|y cf |cnocn, /ssessnen Ono uO||f|cO|cns /|||Once //}, Ono wesn|nse| Scncc| A rt history in schools is taught at postI6 level, anJ lorms part ol the History ol Art GCSF AS anJ A2 exams ollereJ by the Assessment anJ Qualilications Alliance (AQA) anJ the Council lor the Curriculum, Fxaminations anJ Assessment (the Northern IrelanJ boarJ) (CCFA). The nation's thirJ boarJ, OCR, Joes not aJminister an examination in art history, although their Art & Design AS anJ A2 contains a Critical StuJies component. More than 2,JJJ stuJents sit these exams each year. The majority ol teaching posts are in the inJepenJent sector, but employment is also available in some state schools anJ colleges ol lurther eJucation. There are very lev lulltime contracts available. Art history is olten taught parttime in one or more institutions, or lulltime in tanJem vith a subject such as Art & Design, History, Classics or a language. Because ol this the JemanJ lor qualilications can vary. A BA Honours Jegree ol some kinJ is necessary, usually this vill be in art history. A postgraJuate teaching qualilication can be valuable, but as there is no PGCF course JesigneJ lor Art History it is again olten in another subject. The general teaching, lesson planning anJ pastoral skills acquireJ on PGCF courses are, hovever, very helplul in learning to organite classes, to iJentily Jillerent learning patterns (ability anJ Jilliculty), anJ to cope vith Jiscipline anJ personal issues. PostgraJuate grants are usually available. Some Art & Design PGCFs contain a Critical StuJies component but they are not exclusively orienteJ tovarJs postI6 anJ the course content is Jillerent lrom AS anJ A2. Posts in inJepenJent schools are sometimes ollereJ to those vithout a PGCF, anJ many vill allov stall to stuJy lor it alongsiJe their teaching timetable. 112 Remuneration is olten better than in higher eJucation, especially in inJepenJent schools, vhich sometimes oller accommoJation as part ol the job package. Terms are longer but holiJays are usually a complete break. Hovever, teachers have more pastoral responsibilities than Jo university lecturers. Some people might be attracteJ by the opportunities to accompany lielJ trips in the UK anJ abroaJ, most teachers are expecteJ to take at least one trip a year. Career progression beyonJ heaJ ol Jepartment can be maJe by applying lor aJJitional posts, such as exams coorJinator, many teachers also vork lor the exam boarJs as markers or moJerators. The actual classroom vork is in some vays similar to lirstyear unJergraJuate teaching. Classes are olten small, comprising as many as I5 stuJents or as lev as one. Almost all schools on the British mainlanJ stuJy the AQA exam anJ, at the time ol vriting, the AS anJ A2 are stimulating but challenging even lor the most able or conliJent stuJents. The AS can be stuJieJ in the lirst or seconJ year ol sixth lorm, anJ comprises an unseen practical critical paper anJ tvo general survey papers (C5th BC CI6th AD anJ MoJern) vhich stress basic historical anJ stylistic knovleJge. There is a choice ol ten topics on each paper anJ most schools Jo three or lour lrom each. The A2 is only stuJieJ alter the AS in the seconJ year ol sixth lorm, it comprises tvo papers, each covering a single, more locuseJ, historical stuJy (e.g. Ilorence I+JII+83). It also requires a 3JJJvorJ research essay on a question ol the stuJents' ovn choice (Turner prite to telephone boxes), vhich permits an inJepenJent, analytical anJ even more inJepth approach. The Curriculum anJ Qualilications Authority (QCA) are in the process ol relorming A levels anJ nev subject criteria vill come into operation arounJ 2JJ8. The nev specilications that vill result are, hovever, likely to be a more llexible version ol the existing lormat vith a lighter assessment loaJ. Iull syllabus Jetails are available at the boarJ vebsites, AQA, OCR, anJ CCFA (s:: Iurther inIormation). Teaching in schools requires both organitation anJ llair. A lot ol inlormation neeJs to be JelivereJ in a short time, so classes must be prepareJ lor anJ useJ elliciently, tests anJ homevork set anJ markeJ regularly anJ stuJents monitoreJ. There is, hovever, also an element ol theatricality in the vork, vith the use ol images, the viviJ presentation ol iJeas, anJ interaction vith an auJience. Both lacilities are as much a proJuct ol experience as personality, anJ Jevelop vith time. All this requires energy, especially vhen accompanieJ by report vriting, careers evenings anJ all the other extras, but it is lullilling. Teaching requires the inJiviJual to lit into a school hierarchy anJ timetable, but it TFACHING 113 CARFFRS IN " HISTORY 114 also ollers an unusual Jegree ol autonomy. A teacher's classroom is her/his ovn space vhere s/he can create her/his ovn stanJarJs, methoJs anJ atmosphere, so long as gooJ results are lorthcoming. AJJitionally, there is the satislaction ol vorking closely vith people, anJ art history tenJs to inspire anJ olten bring out the best in stuJents. Teaching requires an unusual range ol skills, anJ people vith Jillerent abilities can linJ a vay to excel. Most ol all, the job is JominateJ by a close engagement vith vorks ol art anJ an opportunity to open them up to others. It can, sometimes, be Jillicult or lonely, vorking in a small subject or a Jepartment ol one, but galleries have excellent eJucation Jepartments, stuJy Jays anJ teaching aiJs, anJ the Association ol Art Historians Schools' Members' Group ollers support anJ a lorum lor Jiscussion. )XUWKHULQIRUPDWLRQ Job odvert|sements ||e ||me: FOucc||coc| Succ|emeo| w: www.es.cc.u| Orgon|zot|ons /ssessnen Ono uO||f|cO|cns /|||Once //}. ReOoe|s O|e Oov|seo c ccnOc ne neO|es |eg|cnO| cff|ce w: www.OqO.c|g.u|/ccnOc.nn| /sscc|O|cn cf /| ||sc||Ons Scncc|s' Mence|s' |cup w: np://www.OOn.c|g.u| c||c| cn Scncc|s. Ccunc|| fc| ne Cu|||cu|un, ExOn|nO|cns Ono /ssessnen CCE/} 2 C|O|enocn Ro, C|O|enocn Dcc|, Be|fOs B!1 3B t: 028 02 1200 e: |nfc@cceO.c|g.u| w: www.cceO.c|g.u| CR, 1 ||||s Ro, COnc||oge CB1 2Ed t: 01223 552552 e: ne|poes|@cc|.c|g.u| w: www.cc|.c|g.u| uO||f|cO|cns Ono Cu|||cu|un /unc||y C/} Cuscne| Re|O|cns, 83 P|ccOo|||y, |cnocn w1J 8/ t: 020 750 5555 e: |nfc@qcO.c|g.u| w: www.qcO.c|g.u| 8ooks !ne|e |s nc O g|eO oeO| cf suppc| fc| ne eOcne| cf O| n|sc|y. /pO| f|cn ne |Oc| cf O PCE, ne|e O|e, Os ye, nc exs oevceo c ne suc,ec c| |s oe||ve|y O n|s |eve|. /|| ccc|s, even |eccnnenoeo exccc|s, nOve c ce OoOpeo fc| scncc| use. MO|c|O Pc|ncn, |:|c/, c| A/|. A S|uOeo|: coOccck, fcu|n eo||cn. |cnocn: Rcu|eoge, 17 |On Pcc|e Ono |OnOn wn|nOn, |ecc| cu/:e|| A/| |:|c/,, |cnocn: !eOcn Ycu|se|f, 2003 COIIN Ck0I8F Sen|c| |ecu|e|, |Ocu|y cf /|s, Meo|O Ono Des|gn, SOffc|osn||e dn|ve|s|y CnO||, /sscc|O|cn cf /| ||sc||Ons A s openings lor teaching in higher eJucation are lev it is important to have realistic anJ positive goals il you are aiming to make a career in lecturing. It is aJvisable to try parttime teaching, to see il you like the vork anJ are suiteJ to it. You are unlikely, in any event, to be consiJereJ lor a lull time teaching post belore having been 'testeJ' by parttime vork. Research anJ publication are essential lactors in the appointment ol nev teaching stall at universities. Il you intenJ to teach in higher eJucation you shoulJ register lor a postgraJuate course as a lirst step tovarJs lullilling your ambition. Not only vill research allov you to Jevelop your interests in greater Jepth but you vill learn nev skills too. As university Jepartmental lunJing is, to a large Jegree, JetermineJ by perlormance in the Research Assessment Fxercise (the next one is to be helJ in 2JJ8) your contribution to the publication recorJ ol a Jepartment might vell be a lactor in your attractiveness as an employee as vell as aJvertising your abilities anJ ambitions. To this enJ, young acaJemics are increasingly being aJviseJ to Jeliver conlerence papers anJ publish articles or book chapters as soon as they can in their careers. One vay ol combining research vith teaching is to apply lor lellovships linkeJ to specilic research projects anJ lor a lixeJ perioJ olten vith some teaching as an aJJitional responsibility. A lecturer is constantly preparing nev material lor lectures anJ seminars. In some vays this can be invigorating, but it can olten be a pressure on top ol marking essays anJ examination scripts, as vell as in vriting up your ovn research. This is especially true at the start ol your career. In the 'nev' universities the range ol material to be covereJ may be viJe, particularly il 115 you are teaching line art or Jesign stuJents, vhose expectations ol the subject might be quite Jillerent lrom your ovn. All your teaching vill be challenging at the start, but it can be enjoyable anJ thoughtprovoking as vell as exhausting. You vill neeJ to Jevelop skills lor Jealing vith large groups, small seminar groups anJ inJiviJual tutorials, lor asking interesting anJ pertinent questions anJ lor assessing stuJent perlormance. All these are harJvon skills anJ are olten acquireJ alter much experimentation. Although there are no requirements lor lecturers to have teaching qualilications (a PGCF, lor example), a lecturer shoulJ have gooJ communication anJ organitational skills. These shoulJ be cultivateJ vhile you are an unJergraJuate vhen presenting seminar papers or in the liling ol lecture notes, bibliographies anJ images. As in every branch ol acaJemic vork, vorJprocessing anJ inlormation retrieval skills are regarJeJ as essential vhile, increasingly, the ability to present lecture material through Microsolt PoverPoint is an asset. )XUWKHULQIRUPDWLRQ Job odvert|sements ||e ||me: |g|e/ FOucc||co Succ|emeo| w: www.nes.cc.u| Ouc/O|co EoucO|cn supp|enen eve|y !uesoOy} w: ,ccs.guO|o|On.cc.u| www.,ccs.Oc.u| CARFFRS IN " HISTORY 11 VorIers` EducationaI Association FkONICA DAIF8 !uc|, wc||e|s' EoucO|cnO| /sscc|O|cn 20022005} T he Vorkers' FJucational Association (VFA) has been proviJing aJult eJucation courses in the UniteJ KingJom lor more than a century, anJ is a registereJ charity still reliant on volunteers lor much ol its local organitation. It lorms part ol the netvork ol proviJers ol aJult continuing eJucation anJ training throughout the country. The national organitation is JiviJeJ into a number ol regions, each vith a central ollice in a large city in the region, anJ Tutor Organisers vorking on a more local basis to arrange the programme ol courses in consultation vith local branches. Art history courses lorm a popular part ol this local provision, in the lorm ol Jaytime or evening classes, usually ol I2 hours Juration, vith courses typically lasting betveen six anJ ten veeks. Potential tutors shoulJ contact the appropriate Regional Ollice, Jetails can be lounJ on the vebsite (s:: Iurther inIormation). It is helplul il you can outline the sort ol courses you think you coulJ oller, as this inlormation can be aJJeJ to the Jatabase ol tutors lor local branches to access vhen planning their annual programme. AJvantages ol tutoring lor the VFA incluJe the opportunity to plan your ovn courses, anJ the viJe range ol learners you vill teach, JisaJvantages are that, in common vith many such organitations, the hourly rate has to be seen in the context ol the amount ol preparation anJ travelling you may have to unJertake, anJ reimbursement ol expenses is very limiteJ. Stall Jevelopment activities, incluJing inJuction anJ a mentoring scheme lor nev tutors, are also available.