The award will enable the student to pursue doctoral research in Art History while gaining first-hand experience of work within a museum setting. The successful applicant will receive their degree from The Courtauld Institute of Art, University of London.The supervisors are: Dr Wenny Teo (The Courtauld Institute of Art) and Dr Sook-Kyung Lee (Tate Research Centre: Asia).
Application deadline: 20 June
Interviews likely to be held in the week beginning 11 July.
Tate welcomes applications for the Tate Research Centre: Asia Visiting Fellowship Scheme.
This Visiting Fellowship Scheme provides scholars and curators with developmental opportunities and scholarly exchanges in the field modern and contemporary Asian art. Individuals engaged in the programme will be able to access information relating to works in the Tate Collection and draw on the resources in Tate’s library and archive. This is an ideal opportunity for a scholar or curator who wishes to undertake research at Tate and is keen to share their work on an international platform.
The terms of the individual fellowships will be agreed after consultation with the successful applicants. However, all fellows are expected to:
Produce a final report summarising the research project.
Contribute research to one of Tate’s online publication platforms
Convene a seminar or lecture at Tate or at a partner organisation.
The duration of the fellowship is negotiable (maximum three months) and there are two fellowships currently available. The starting dates are flexible, however both posts must be completed by January 2017. Fellowships are non-stipendiary. The posts are visiting opportunities; the successful applicants will not hold Tate staff positions. Each fellow will be reimbursed for their travel, accommodation and per diem expenses, the terms of which will be agreed with individuals on the basis of their particular projects and circumstances.
To apply please send a CV, the details of two referees, a specimen of a research publication, and a single-page project proposal by email to email@example.com
On 13 and 14 June CCW Reader Hayley Newman participated in Liberate Tate’s performance/installation/occupation in the Tate Turbine Hall called Time Piece. Liberate Tate is a network founded in 2010 and dedicated to taking creative disobedience against Tate until it drops its oil company funding.
Liberate Tate described the work as, ‘…a durational performance using words, bodies, charcoal and sustenance. The performance takes place from High Tide on 13.06.15 (11:53am) until High Tide on 14.06.15 (12:55pm). A textual intervention, Time Piece is a tide of stories and narratives flowing in waves up the slope of Tate Modern’s Turbine Hall. The texts are fictional and factual responses to art, activism, climate change and the oil industry. The performance explores lunar time, tidal time, ecological time, geological time and all the ways in which we are running out of time: from climate change to gallery opening hours; from the anthropocene to the beginning of the end of oil sponsorship of the arts.
Liberate Tate creates unsanctioned live art inside Tate spaces to free Tate from BP. In 2015, it was revealed that BP sponsorship is worth less than half a percentage of Tate annual spending, and is around forty times less than the sum donated by Tate Members last year. BP’s oil spills are ecological iconoclasms. The company’s presence in galleries and museums is a stain on our culture. When will BP’s time be up at Tate? As the age of oil draws to a close and the world looks towards the Paris Climate Summit to tackle climate change, Tate must step into the future and drop BP. #TimePiece‘
One of the texts used was Newman’s publication, Common, ‘a novella set in the City of London over the summer of 2011. Written in the run-up to Occupy, it encompasses a crash in global markets caused by the downgrading of American debt, turbulence in the Eurozone and protests/riots that started in London before spreading across Britain. Written as Self-Appointed Artist in Residence, events in Common take place over a day. The book brings together the past and present/personal and political and asks; how can lay people understand more about the current economic crisis? How might subjectivity and political agency be combined to create a text that is both immediate and reflective? How might we make sense of crisis from within? What is the impact of the economy on the environment? Common is a metaphor for collapse (social, environmental and economic).’