Dot to Dot: Drawing Your Own Career Path in the Art World

By Ruth Millington, MSt History of Art Graduate 2011


Following the Art History Careers Seminar, held on 25th January 2017, here are some top tips for students interested in pursuing a career in the art world from professionals in the field.

student-in-gallery

© Andy Sedg, via Visualhunt.com 

Tom Ryley, Communications and Digital Officer, Old Royal Naval College

  • Develop your digital skills: Be aware that many arts jobs, including marketing, require excellent digital skills. In his role, Tom uses social media statistics, Google Analytics and Google AdWords to connect with audiences online and increase engagement with the museum’s programme of events and exhibitions.
  • Join student societies: Whilst you are still at university you can lead on projects and campaigns run by societies, which will develop employability skills, such as marketing and communications.

Dina Akhmadeeva, Assistant Curator, Collections International Art at Tate Modern

  • Think internationally: If you are interested in curating, you can apply for curatorial traineeships around the world. Dina took up placements in the USA and the Netherlands before starting to work at Tate Modern.
  • Write: Pitch ideas for articles to editors at magazines and websites to get your writing featured and build up an authentic profile, which employers will take seriously.

Ruth Millington, Arts Internships Officer, University of Birmingham and Freelance Writer

  • Use social media: Many arts organisations post internships and jobs on Twitter, Facebook and LinkedIn. You can also sell yourself and your skills, and engage with employers.
  • Do work experience: Fit work experience around your studies. Within Oxford there are lots of opportunities to volunteer across the seven Oxford University Museums and Collections. In vacations, you can apply for more structured internships schemes, such as placements at auction houses. These experiences allow you to network, develop skills and knowledge, and work out the career you would be best suited to.

Josh Baldwin, Senior Game Designer, Coldwood Interactive

  • Prove your motivation: Research and engage with the industry you’re interested in. This could include blogging, creating visual content, modding (for the games industry) and producing articles. These activities will build up your professional voice and portfolio, and allow you to interact with others in the field.
  • Consider smaller companies: Offer your services (for less than they are worth) to small companies, rather than the big names, as this may give you that first foot in the door. If you are making a speculative application, show real understanding of the work this organisation does and express why you would be the perfect fit for them.
damien-hirst

Limited Edition Print by Damien Hirst, Art Basel Hong Kong 2013 © See-ming Lee, via Visualhunt.com 

Joining the Dots

One important question you can ask yourself, both at the start of and as you progress through your career, is this: what side of the art do you want to be on? Selling? Researching? Making? Finding your place may not be immediate. In fact, each speaker stressed the varied route they had taken after graduation, which often did not make sense until later on. So, if you don’t immediately get a job in an arts organisation after graduating, don’t panic! Employers will value the skills you have developed whilst working in other sectors, and sometimes even prefer this. There is no set career ladder in the art world so be prepared to move around, be creative and play to your strengths.


Ruth Millington, MSt History of Art 2011, www.ruthmillington.co.uk, @ruth_Millington

Dina Akhmadeeva, BA History of Art 2013, MSt History of Art 2014, www.dinaakhmadeeva.com, @DinaAkhmadeeva

Joshua Baldwin, BA Classical Archaeology and Ancient History 2013

Tom Ryley, MSt History of Art 2015

 

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Art Beyond the Lecture Theatre: Internships and Opportunities in the Art World

By Nina Foster, BA History of Art Graduate 2016


Studying History of Art at Oxford gave me a fascinating insight into the incredible influence museums and collections have on public interaction with art. Although working in the arts is highly competitive and funded opportunities are rare, Oxford provides the perfect support system for finding exciting internships in all manner of art institutions. I cannot speak highly enough of the wonderful opportunities OUIP (Oxford University Internship Programme) offers for arts and humanities students. Each year OUIP has hundreds of internships around the world and in the UK, all of which are funded or paid. I have been fortunate to complete two OUIP internships and I strongly recommend anyone with an interest in working in the art world to take a look at what they have to offer. The History of Art department also offers the fantastic opportunity of an internship award at Waddesdon Manor; open to any humanities student with a research focus on art.

I hope that this post offers some inspiration and guidance for any current students or graduates hoping to take the first steps towards a career in the arts.

Working Abroad at the State Hermitage Museum

In the summer following my second year at Oxford I undertook a fully funded internship at the State Hermitage Museum in St. Petersburg with a fellow undergraduate art historian. The internship was part of OUIP and included a grant from the Higher Education Funding Council for England to support a six week period in Russia. The application process involved filling out a form and writing a 600 word personal statement. My internship at the Hermitage mainly involved the organisation of the European Day of Languages Festival 2015, which was produced in collaboration with the EU Delegation in Russia. A typical day would involve heading to the office at around 11am (Russian working hours are quite different to the UK!) to work with the rest of the team to devise marketing ideas and strategies for the festival.

marketing

Experimenting with marketing ideas: a collage of the grand staircase at the Hermitage

This experience gave me so much insight into all the other kind of work that goes on at a major museum beyond curation. I also had the opportunity to take weekly Russian language classes which really improved my confidence to speak in Russian. Also working at the Hermitage gives you free entrance to loads of arts and cultural institutions in St. Petersburg so it’s a great opportunity to explore Russia on a student budget. The team at the Hermitage was made up of inspiring like-minded young people from all around the world – many of which have become lasting friends. Living and working abroad while still at university is such an amazing opportunity and one that employers always ask me about in interviews. It demonstrates adventurousness, curiosity and adaptability so if you think that sounds like you definitely look at the international opportunities OUIP offers!

narkomfin

Exploring Moscow: Nina and Fania visiting the Narkomfin building

Revitalising Underused Spaces with Ugly Duck

Throughout my third year of studies I became increasingly interested in the use of art to bring communities together and put forward new ideas in public spaces. Not only did this become the focus of my thesis, but I also began looking for opportunities to work in this field. Again I found a brilliant opportunity through OUIP – the chance to do a paid internship with a registered charity called Ugly Duck in London. Ugly Duck’s mission is an unusual but exciting idea – to revitalise underused spaces in overcrowded London. Ugly Duck repurposes empty buildings by opening them up for commercial venue hire for instance for photoshoots or filming. The spaces are also used by emerging artists, directors, activists or dancers through their biannual creative season. As with my Hermitage application I had to fill out a form and write a personal statement, I was also invited for an interview in London. I found this interview quite challenging as the team at Ugly Duck really wanted to know if I had done my research on the position, the organisation and whether I had any bright ideas for their work.

uglyduck

The Ugly Duck Warehouse: one of my colleagues chatting to a potential client

My internship at Ugly Duck ran from July to September and was honestly an eye-opening experience. My role as City Hunt Coordinator focused on the development of Ugly Duck’s public spaces project. City Hunt is a hyper-local heritage game that operates on digital and analogue platforms. My work involved data analysis, securing new business partnerships and sourcing public funding by writing funding applications. Additionally, as Ugly Duck is run by a small team of only three staff I assisted in the day-to-day running of the business by taking bookings, managing the venue and liaising with artists. The breadth and variety of exciting responsibilities Ugly Duck offered me has given me such valuable experience for future employment and has inspired me to focus on a career that uses art for social impact.

Curating and Cataloguing at Waddesdon Manor

Each year there is a remarkable opportunity for an Oxford humanities student (BA, MA, PhD) to undertake a funded internship at Waddesdon Manor – a Rothschild chateau in Buckinghamshire now owned by the National Trust. Waddesdon is a truly unique place and the internship offers a very rare opportunity to assist in curation at an entry-level position. The position includes accommodation in a beautiful cottage in Waddesdon village as well as a bursary. The application process involved writing a statement about why I was interested in the role. I am particularly interested in the contemporary art at Waddesdon so that was the focus of my application. Also you have to submit written references from two tutors which I left until the very last minute so I would definitely recommend getting organised and giving them at least a week to do this! After submitting my application I had an interview in the History of Art department which was actually a really enjoyable experience.

waddesdon

Not a bad office! The very grand approach to Waddesdon Manor

I started the Waddesdon internship in September 2016 and have so far found the experience very rewarding. I mainly work with the wonderful and inspiring senior curator Dr. Juliet Carey on the preparation of exhibition proposals and research projects. I have thoroughly enjoyed working with contemporary artists to help them explore the collection and produce work inspired by it. I have also gained experience of working with the collection management database which is a really essential skill for working in museums. I’ve met so many different people here who all share the same passion for Waddesdon and I have to say I now also share that passion!

diningroom

The incredible collections at Waddesdon include 18th century French decorative arts of the highest quality

My work experience seems only to have scratched the surface of the complexity and diversity of opportunities within the art world. The great thing about working in the arts is that there is no graduate scheme system, rather you have to find opportunities and devise your own career path. This is honestly really exciting and has led me to places I could never have imagined working. So, if I can offer any advice it’s to think broadly and look at opportunities that take you out of your comfort zone – you’ll probably find them through Oxford’s career network!


Nina completed her BA History of Art at the Department in 2016. She is currently  undertaking the Waddesdon Internship organised in collaboration with the History of Art Department.

Inside Christ Church Picture Gallery

By Jacqueline Thalmann, Curator of the Picture Gallery


Studying in Oxford also means access to a number of world class museums, collections and objects – some of them better known than others. The lesser known ones have the stigma of inaccessibility attached, but it is often just a matter of less prominent placement and publicity and the uncomfortable fact, voiced by Goethe, that we only see what we know.

Have you, for example, seen Giampietrino’s important copy of Leonardo’s Last Supper or Mark Wallinger’s impressive sculpture Y, both in Magdalen College, or the El Greco in the chapel of New College? These are overlooked objects that surround us – just waiting to be noticed and seen.

Christ Church Picture Gallery and its collection somewhat share this fate – even though to a much lesser degree. However, until the opening of Pembroke College’s art gallery in 2013 – showing their remarkable JCR’s collection of mainly British 20th century art – Christ Church was the only Oxford (and Cambridge) college with a dedicated and open-to-the-public gallery and a world-class collection to fill it. In fact, Christ Church can be proud to have opened the first permanent public art gallery in Britain. It opened its doors in 1768, with the first catalogue of the paintings being published in 1771. The Ashmolean did not yet have paintings and the Bodleian’s art collection consisted almost exclusively of portraits, whose main pull was to entertain the visitors with the likenesses of the famous and infamous sitters, rather than their artistic execution.

0803_pg-137view-to-drawings-galleryInterior Views of the Red Gallery and Picture Gallery © Christ Church Picture Gallery

But the ‘art scene’ in Oxford changed when Christ Church accepted an exceptional bequest of almost 2,000 drawings and over 200 paintings by one of its alumni, General John Guise (1682-1765). The collection consisted mainly of Italian Old Masters, including all of the famous names: Leonardo, Raphael, Michelangelo, Carracci, Tintoretto, Veronese et al, especially among the drawings and some of the less famous and anonymous masters, whose works are no less enticing – visually and academically. The acceptance of this vast number of works also meant that Christ Church took on the responsibility of caring for them and showing them. They were not hung in private or semi-private college rooms, as would have been the easy option, but from the beginning, the idea was to share the works by displaying them together in a dedicated gallery space. This was ground-breaking: for the first time one could see paintings and drawings by the great Italian masters without having to travel to the continent or having to gain access to private residences and collections.

jbs-62v-webMichelangelo, Study for a left leg (JBS62v) © Christ Church Picture Gallery

John Guise’s awareness of the importance of the visual arts had been fuelled by one of his Oxford teachers, Dean Henry Aldrich, but also by writers and collectors like Jonathan Richardson who wrote in 1715:

” supposing two Men perfectly equal in all other respects, only one is conversant with the works of the best Masters […] and the other not; the former shall necessarily gain the Ascendant, and have nobler Ideas, […]; he shall be a more Ingenious, and a Better Man”

These thoughts have become even more poignant today in view of recent developments in art education. But let’s continue with the pioneering history of the collection: The then new Christ Church library, which was designed with an open loggia on the ground floor, was modified and the loggia was abandoned in favour of creating the necessary wall space to hang the incoming collection. This newly developed space was called the Picture Gallery (today it is known as the Lower Library) and was open to the public. The library itself (today known as the Upper Library), was the actual college library and only open to members of Christ Church and by permission. It is important to stress these distinctions in order to fully appreciate the sagacity and unprecedented act of – not only incorporating art into the Oxford education – but extending that to a wider audience.  We even have a caricature by Thomas Rowlandson of an early guide to the collection – Mrs Showwell (1807).

mrs-showwellThomas Rowlandson (after John Nixon), Mrs Showwell © Christ Church Picture Gallery

Establishing the gallery, attracted other gifts and bequests: The Continence of Scipio, an important early van Dyck, was added in 1809, bequeathed by Lord Frederick Campbell; two gifts of Early Italian paintings, by the pioneering collectors W T H Fox Strangways (1828) and Walter Savage Landor (1897) widened the scope of the collection and more recently we added a collection of British 18th century drinking glasses and Russian metal icons to it.

van Dyck, Anthony, 1599-1641; The Continence of ScipioAnthony van Dyck, The Continence of Scipio (JBS 245) © Christ Church Picture Gallery

The growing number of paintings and the library’s need for more space heightened the need for a new dedicated gallery building and this, the current building, sensitively designed by Powell and Moya, opened in 1968. It was almost too sensitively designed, without any façade or wall visible from the outside, the gallery sits, nearly undetectable, within the gardens and grounds of Christ Church. This outwards invisibility almost conceals its content: one of the most important Old Master collections in Britain. But, after finding the rabbit hole through which to squeeze (the entrance in Canterbury Quad), the visitor resurfaces in a light, modern and cleverly designed building to encounter some of the great masterpieces of Western art: be it Annibale Carracci’s Butcher’s Shop, a highly visceral, early (the first) monumental genre painting or the cerebral Wounded Centaur by Filippino Lippi, or Hugo van der Goes ‘religious close-up’ – or one of our drawings exhibitions (at the moment, until the 30th January 2017, Drawing in Red, an exploration of red chalk drawing).

Carracci, Annibale, 1560-1609; The Butcher's ShopAnnibale Carracci, The Butcher’s Shop (JBS181) © Christ Church Picture Gallery

Having said all this, if you have not been visited the Picture Gallery, yet, do drop by. You will find us at the back gate of Christ Church, off Oriel Square. The porter at the gate can point you in the right direction – and while there is a small entrance charge – current and former members of the University and Oxford Brookes have free access, just show your University card at the gallery entrance desk.


More information about the Picture Gallery can be found here.

Trusted Source: A New Oxford University and National Trust Collaboration

By Alice Purkiss, Knowledge Transfer Partnership Associate, University of Oxford and National Trust


stoweStowe Gardens © Dr Oliver Cox

At the beginning of February the University embarked upon a new collaboration with the National Trust in a bid to enhance visitor experience at the charity’s historic properties and outdoor spaces through research.

Funded by the AHRC and the National Trust, the Trusted Source project is the culmination of a series of successful collaborations running over the past five years between the University and the Trust, coordinated by Oxford’s Heritage Engagement Fellow, Dr Oliver Cox. Having studied at the History of Art Department for my MSt, I was delighted to return to the University to develop this exciting new partnership, and to work with colleagues old and new at both institutions.

Trusted Source has been commissioned as a Knowledge Transfer Partnership (KTP), an Innovate UK scheme devised to encourage businesses to innovate and grow. It does this by linking them with a university and a graduate to work on a specific project. Usually awarded to the science and industry sectors, this is one of the few heritage-based KTPs funded in the initiative’s 40 year history, and the first awarded to both the Humanities Division at Oxford and the National Trust.

What is Trusted Source?
The aim of the partnership is to create Trusted Source; a new online resource featured on the National Trust’s website containing concise, engaging and accessible articles about history, culture and the national environment that draw out connections between collections, places, properties and people. Crowdsourced from university researchers and National Trust specialists, this resource aims to enhance visitor experience of National Trust properties and places. Furthermore, in doing this we hope to encourage more meaningful public engagement with, and enhanced understanding of, Britain’s wider cultural heritage and natural environment.

As a key advocate for the project, the Trust’s Director General, Dame Helen Ghosh, states:
We want to tell the stories of the collections and properties in our care in an engaging, accurate and inspiring way. Using the latest academic research, Trusted Source will help us enhance the experience we give our members and visitors, uncover new information and deepen our understanding of the heritage in our care. As well as enriching our interpretation at properties, the resources created during this important collaborative partnership will be freely available online for everyone to explore.

Benefits & Opportunities at Oxford
It’s important to stress that the National Trust and its visitors are not the only intended beneficiaries of Trusted Source; the opportunities the project offers to researchers here at Oxford are significant too, and a particular consideration of mine. In addition to providing research and networking opportunities with a leading cultural institution, Trusted Source offers its contributors meaningful work experience and visibility within a highly competitive sector that is increasingly hard to come by.

The articles are authored, and contributors are given an ‘Author Profile’ page on the National Trust’s website featuring a short biography and a list of the articles they have written. With the Trust’s website receiving over 11 million page hits every year from over 2 million unique visitors, becoming a contributor can significantly boost online research profiles, offer valuable Public Engagement with Research (PER) experience, and enable researchers to experiment with communicating their work to a new and diverse audience. Academics from across the University from Masters level upwards are invited to contribute, be it with one Trusted Source article, or 20!

First Steps
To begin the article commissioning process, the first call-out for researchers was devised to support the current Landscape Programme at Stowe Gardens in Buckinghamshire, an initiative comprising of fifty four tasks taking place over five years to return the gardens to their former glory. Highlights include the return of missing statues, monuments and paths, and the opening of parts of the gardens not currently open to the public. In support of this, Trusted Source involvement sought to assist in unravelling the puzzling circumstances surrounding Stowe’s Gothic Cross, a Coade Stone monument placed in the landscape in the early 19th century and later destroyed, it is believed, by a falling tree.

stowe-basestowe-fragment
Left: The base of Stowe’s Gothic Cross, 1991. Right: Fragment of the Gothic Cross. Photographs © National Trust.

In March, University researchers and National Trust staff attended a workshop at St John’s College at which Trusted Source was introduced and opportunities for academic research on the Gothic Cross detailed. A variety of articles were written as a result of this workshop, including texts on lost medieval villages, Whig landscapes, Gothic Revival, Coade stone and the meaning of patriotism, to name a few. Each article uses Stowe as one of a number of examples of the feature or question being explored, therefore these short articles connect up the National Trust’s portfolio of properties, places and collections in new and surprising ways. See the articles with the corresponding ‘Author Profiles’ on the Trust’s website here: www.nationaltrust.org.uk/ktp

What’s next?
Over the coming months the Trusted Source project team will continue to foster strong bonds between these two leading organisations and commission engaging and accessible articles which support a whole host of Trust properties, places, and projects; from stately homes, working farms and natural landscapes, to Trust-wide programming themes. Articles will be commissioned through a variety of means, including events and workshops based upon specific National Trust projects and themes, through general article writing workshops hosted at the History of Art Department, and by embedding Trusted Source into Humanities doctoral training.

The project’s legacy beyond the two years of the KTP is highly significant, and a central consideration for both institutions. By formalising a clear methodology for sharing knowledge between these two leading organisations, we hope to establish a blueprint for collaboration that can be adopted by other academic institutions and heritage organisations internationally, thereby encouraging further stories about places to be told and enriched through research.

Interested in becoming a Trusted Source contributor?
For more information on Trusted Source including details on how to contribute, please visit http://torch.ox.ac.uk/trusted-source or email alice.purkiss@history.ox.ac.uk.


Alice completed her Masters in the History of Art and Visual Culture at the Department in 2012. Before this role Alice was a Curatorial Trainee at The Charleston Trust, an experience which she wrote about for the blog last year.

History of Art UNIQ Summer School 2016

By Nathan Stazicker, BA History of Art Graduate 2016


During the long vacation Oxford is overtaken by tourists and summer school students, forming endless queues outside the Ashmolean and every college connected with Harry Potter. The students who attended the History of Art UNIQ summer school in the first week of July were just as keen to take in the city’s tourist hotspots but also spent their time in Oxford’s libraries preparing for tutorials. Accompanied by two current student mentors – myself and Issy – the 14 potential applicants had a packed week which, at times, felt like it was packing 8 week’s worth of stuff into just 7 days!

That’s not a criticism though, for the whole point of the UNIQ programme (which runs over 4 weeks every July) is to give sixth form students an insight into life at Oxford University, both social and academic. Sleeping and eating in colleges (for free!) – Wadham and St John’s this year – also provides a valuable experience of student life. The great value of UNIQ is that it shows students from state schools and areas of little progression to higher education that Oxford (and university in general) can be right for them. As a former participant of the programme back in 2012, it was a particular pleasure to take on the role of academic mentor this year and help to inspire the next generation of Oxford students.

As the sixth formers’ trains pulled into Oxford on a sunny Saturday afternoon they had little idea of what Oxford could offer them, who they would be spending the week with, or, indeed, what art history is. After seven days immersed in the History of Art Department however, this was far from the case! After an intense day of admissions preparation on the Sunday the students, Issy and I threw ourselves into exploring what Oxford has to offer art historians. Led by Prof. Craig Clunas we visited the Weston Library where we compared 16th century visual representation in the Sheldon tapestry map and Aztec scrolls before heading off for tours of St Catz and Wadham with Prof. Gervase Rosser. And Monday still had more to offer with an introduction to the Pitt Rivers Museum and an evening of sports in University Parks (although some of the art historians took the opportunity to sketch rather than run around!).

During the rest of the week we had amazing tours of the Ashmolean with curators – where we also viewed modern Chinese artworks not usually on display, handled medieval manuscripts and Renaissance books in St John’s College library, visited the Christ Church Picture Gallery and climbed up to the lantern of Christopher Wren’s Sheldonian Theatre! The aim of these visits was to introduce the students to some of Oxford’s collections, leading to a mini research project in the style of the first year object essay. Each group of students was given an object to research, ranging from an Ancient Egyptian scarab beetle to Uccello’s famous painting ‘The Hunt in the Forest’. Over the course of the week these objects were researched using books in the Sackler and Balfour libraries, which led to tutorials with members of the Department and a final presentation at the end of the week. This was a great morning, with each group speaking for 20 minutes and sharing what they had learned, teaching the rest of us a lot along the way!

Aside from the academic programme we enjoyed a comedy night and quiz night and a fabulous alumni dinner at Christ Church. Here we were joined by Ros Holmes, a Junior Research Fellow in the History of Art, and Louise Stewart, Cross Collections Curator at the National Portrait Gallery, both former students of the Department. With a Q&A session and a three course dinner there was plenty of time to chat and the students enjoyed both the fancy food and the chance to learn about opportunities after university.

On Friday afternoon the UNIQ students ‘graduated’ in the Sheldonian and received books courtesy of Oxford University Press before we headed off to the farewell BBQ. Everyone needed a rest after such an action-packed week but there was unanimous agreement at how enjoyable UNIQ had been. As they headed back home to embark on Year 13, there were more than a few who had their sights firmly set on a History of Art degree from Oxford. Thanks must be given to the students who made the week so enjoyable with their dedication, and to the hard work of all the Department and museum staff who gave up their valuable time, especially to Prof. Clunas who dedicated his week to UNIQ.


Nathan was awarded the History of Art Gibbs Prize 2016 for achieving the highest examination marks in his cohort. He also received the Good Citizen Prize for making the greatest contribution to the life of the Department during his course, over and beyond his academic work.

More information about Oxford’s UNIQ summer schools can be found here.