Curatorial Fellowship

dynamicafrica:

The Museum of Contemporary African Diasporan Arts (MoCADA)

Curatorial Fellowship

Program Dates: September 12, 2013 –  June 6, 2014

Application Deadline: May 7, 2013 by 11:59pm

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Brooklyn, New York, March 1, 2013 – MoCADA is now accepting applications for the 2013 – 2014 Curatorial Fellowship, made possible by the Institute for Museum and Library Services (IMLS). The Curatorial Fellowship was designed to cultivate emerging curators of African descent who are grounded in the belief of the power of art to transform individuals and communities. From an open competition, two individuals will be selected to participate in the eight-month program and receive a $20,000 award.

The successful candidates will work full-time at MoCADA from September 2013 to May 2014. Under the leadership of the Exhibitions Director and Education Coordinator, the fellows will assist in all aspects of bringing MoCADA’s exhibition schedule to fruition. Through weekly discussions sessions, the fellows will be led through the process of developing a curatorial concept into an exhibition. They will also work inter-departmentally on the museum’s community and educational programming, catalogues, publicity, merchandizing, grant writing, and web presence. In the field, the fellows will build a professional network through a schedule of artist talks, symposia, research, travel and site visits to arts organizations and artist studios. All of these aspects will be integral to the fellows’ experience as they work to co-curate a Satellite Exhibition at an offsite location in Brooklyn. The exhibition will be accompanied by public programs that will include an artist talk/panel, exhibition walk throughs, and additional programs of their design.

The goal of the Curatorial Fellowship is to provide emerging curators with professional training to become socially and politically conscious arts leaders who will create exhibitions that inspire action. At the close of the program, It is our hope that the fellows gain an awareness of the curatorial department’s involvement at every level of the museum, and become creative thinkers in their approach to curatorial practice.

Application Requirements

  • BA or BFA in Art History, Studio Art, Africana Studies, or a related field with a specialized interest in African/African American/African Diasporan visual arts

  • Undergraduate degree completed no earlier than May 2011. Applicants graduating in May 2013 are welcome to apply.

  • Strong writing and communication skills

  • A record of achievement in community organizing, programming, and/or events

How to apply

To initiate an application, complete the Curatorial Fellowship Application Form. In addition, email the following application components in a single email to fellowship@mocada.org:

  • A description of an original exhibition idea that aligns with the museum’s mission. The description should include an exhibition concept or key idea, and any artists that the applicant is considering (300 words)

  • A current resume

  • A list of two professional references. For each, please include the following: name, position, relationship to the applicant, email address and phone number. These references must also each submit a professional recommendation on behalf of the applicant. Recommenders should email letters directly to fellowship@mocada.org

  • A cover letter that outlines your reasons for applying

  • A two to three page professional or academic writing sample

  • A brief description of a recent exhibition that has made a lasting impact on you. Include the exhibition dates and location (300 words)

Application Deadline: May 7, 2013 by 11:59pm. Incomplete or late applications will not be reviewed.

Please direct any questions to info@mocada.org. No phone calls please.

The Museum of Contemporary African Diasporan Arts (MoCADA) uses the visual arts as a point of departure for exploring new artistic production across a variety of disciplines. Through exhibitions and programming, MoCADA incites dialogue on pressing social and political issues facing the African Diaspora, and fosters a dynamic space for the creation and continuous evolution of culture.

Support for the Curatorial Fellowship is generously provided by The Institute of Museum and Library Services (IMLS). IMLS is the primary source of federal support for the nation’s 123,000 libraries and 17,500 museums. Through grant making, policy development, and research, IMLS helps communities and individuals thrive through broad public access to knowledge, cultural heritage, and lifelong learning.

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MOCADA founded and owned by my Spelman sister.

Dope curatorial fellowship!

fuckyeablackart: Lauryn Hill II by ~ZhaoT Thankful I was asked to write about Ms. Hill for the dictionary of American music. A humbling task indeed.

fuckyeablackart:

Lauryn Hill II by ~ZhaoT

Thankful I was asked to write about Ms. Hill for the dictionary of American music. A humbling task indeed.

(Source: asapworldwide)

dynamicafrica:

yourhue:

Afro-Cubans and Sierra Leoneans bridge the gap in documentary, They Are We

Can a family separated for 170 years by the transatlantic slave trade sing and dance its way back together again? THEY ARE WE tells a story of survival against the odds, and how determination and shared humanity can triumph over the bleakest of histories.

#towatch

  • Reblogged from ▲

  • May 02, 2013, 10:15pm

          4,492 notes

(Source: w0lf-hayley)

  • Reblogged from ▲

  • May 02, 2013, 10:14pm

          683 notes

mikeyywashere: Iconic

mikeyywashere:

Iconic

(Source: thistownneedsanenema)

  • Reblogged from ▲

  • May 02, 2013, 10:14pm

          2,940 notes

fuckyeahmarxismleninism:

Hands Off Assata!

Chapter 2 (“Blacksound as a way of American Life”) of my dissertation (“Sound in the Construction of Race in the Circum-Atlantic World”) in a nutshell. Probably only makes sense to me lol. Just basic themes and topics that guide and flesh out the chapter. Theorizing the hell out of my concept of Blacksound (from blackface minstrelsy to present). Hope to do justice to the work the ancestors laid out for me to do on this earth.

Chapter 2 (“Blacksound as a way of American Life”) of my dissertation (“Sound in the Construction of Race in the Circum-Atlantic World”) in a nutshell.

Probably only makes sense to me lol.

Just basic themes and topics that guide and flesh out the chapter.

Theorizing the hell out of my concept of Blacksound (from blackface minstrelsy to present).

Hope to do justice to the work the ancestors laid out for me to do on this earth.

I asked a question like this…

—-

Amen. Amen. and Amen again. 

(Source: husssel)

Every 28 Hours an African American is Extrajudicially Murdered in the U.S.

Malcolm X Grassroots Movement: This report documents how people of African descent remain “without sanctuary” throughout the United States. Nowhere is a Black woman or man safe from racial profiling, invasive policing, constant surveillance, and overriding suspicion.
All Black people – regardless of education, class, occupation, behavior or dress – are subject to the whims of the police whose institutionalized racist policies and procedures require them to arbitrarily stop, frisk, arrest, brutalize and even execute Black people.

I’m such a fucking libra. the stars control me.  but i’m getting some damn work done today. fuck that non-focused shit lol. 

I’m such a fucking libra. the stars control me. 

but i’m getting some damn work done today. fuck that non-focused shit lol. 

west-west-yall: j cole x kendrick lamar —— Yea man. this right here is rap. 4 sure.

west-west-yall:

j cole x kendrick lamar

——

Yea man. this right here is rap. 4 sure.

specialnights: Robert Abbott with his newsboys. In May 1905 he started publishing the Chicago Defender. The paper attacked racial injustice, particularly lynching in the south. The Defender did not use the words “Negro” or “black” in its pages. Instead, African Americans were referred to as “the Race” and black men and women as “Race men and Race women.” Many places in the south effectively banned the paper, especially when, during World War I, Abbott actively tried to convince southern blacks to migrate to the north. Abbott managed to get railroad porters to carry his papers south and he ran articles, editorials, cartoons -even train schedules and job listings to convince the Defender’s southern readers to come north. The “Great Northern Migration,” as it was called in the Defender, resulted in more than one million blacks migrating north, about 100,000 of them coming to Chicago. The Defender was passed from person to person, and read aloud in barbershops and churches. It is estimated that at its height each paper sold was read by four to five African Americans, putting its readership at over 500,000 people each week. In the burgeoning economic times of the 1920s, with hundreds of new products and the growth of advertising, the Defender became an economic success and Abbott became one of the first African American millionaires. —- Thank you, Mr. Abbott, for the Chicago Defender

specialnights:

Robert Abbott with his newsboys.

In May 1905 he started publishing the Chicago Defender. The paper attacked racial injustice, particularly lynching in the south. The Defender did not use the words “Negro” or “black” in its pages. Instead, African Americans were referred to as “the Race” and black men and women as “Race men and Race women.” Many places in the south effectively banned the paper, especially when, during World War I, Abbott actively tried to convince southern blacks to migrate to the north. Abbott managed to get railroad porters to carry his papers south and he ran articles, editorials, cartoons -even train schedules and job listings to convince the Defender’s southern readers to come north. The “Great Northern Migration,” as it was called in the Defender, resulted in more than one million blacks migrating north, about 100,000 of them coming to Chicago. The Defender was passed from person to person, and read aloud in barbershops and churches. It is estimated that at its height each paper sold was read by four to five African Americans, putting its readership at over 500,000 people each week.

In the burgeoning economic times of the 1920s, with hundreds of new products and the growth of advertising, the Defender became an economic success and Abbott became one of the first African American millionaires.

—-

Thank you, Mr. Abbott, for the Chicago Defender

(Source: kiecho)