curation

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.

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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!

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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.

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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.

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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!

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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.