About the Project
Across the world different ecosystems exist to support contemporary artistic infrastructures with varying degrees of public and private patronage, with formal and informal economies, some with wide-spread recognition and international repute, others sustaining types of practice that evade or are misrecognised by globalized infrastructures of attention. In the UK, large and small arts institutions are increasingly reliant on inventive forms of fundraising, sponsorship and patronage following a relatively short historical period in which arts funding was sanctioned and distributed through a centralised welfare state system. This studentship seeks applicants who, from transnational perspectives, wish to document and analyse shifts in art’s strategic and tacit ecologies, examining changes in artist-led and curatorial culture over the past 50 years. Applicants may wish to proceed through the examination of case studies that are local to their neighbourhoods and knowledges or to draw international comparisons of different scales and ambitions. Applicants may have worked in temporary or long-standing organisations, or may have been recipients of institutional support as artists, curators, community groups, or other stakeholder groups. Research proposals may draw upon economic, managerial, curatorial or artistic-organisational methodologies and may work towards proposing new models at a variety of scales.
The research studentship will be attached to BxNU, the collaborative research institute formed by BALTIC Centre for Contemporary Art and the University of Northumbria. The successful applicant will be supported by both organisations and be expected to contribute to the development of public research cultures at the institute.
Eligibility and How to Apply:
Please note eligibility requirement:
• Academic excellence of the proposed student i.e. 2:1 (or equivalent GPA from non-UK universities [preference for 1st class honours]); or a Masters (preference for Merit or above); or APEL evidence of substantial practitioner achievement.
• Appropriate IELTS score, if required.
For further details of how to apply, entry requirements and the application form, see:
https://www.northumbria.ac.uk/research/postgraduate-research-degrees/how-to-apply/
Please ensure you quote the advert reference above on your application form.
Deadline for applications: 27 January 2017
Start Date: 2 October 2017
Northumbria University takes pride in, and values, the quality and diversity of our staff. We welcome applications from all members of the community. The University holds an Athena SWAN Bronze award in recognition of our commitment to improving employment practices for the advancement of gender equality and is a member of the Euraxess network, which delivers information and support to professional researchers.
Funding Notes
The studentship includes a full stipend, paid for three years at RCUK rates for 2017/18 (this is yet to be set, in 2016/17 this is £14,296 pa) and fees.
References
PHIILIPS, A, (Co-ed-in-chief 2015-2017/Ed-in-chief 2017-): PARSE Journal for Artistic Research issues 1-7 (Gothenburg: University of Gothenburg, 2015-):
The Value of Contemporary Art (ed.), PARSE issue 2 (Gothenburg, University of Gothenburg, 2016)
Management (ed.), PARSE issue 5 (Gothenburg, Univesity of Gothenburg, 2017)
‘Social Dreaming: Learning about curating at Iniva and Santiniketan’ in (eds. Choi, Rosenthal, Watson), Practice International (London/Utrecht: Iniva/CASCO, 2017 forthcoming)
‘Reclaiming Participation: arts centres and the reinvention of social condensation’ in (eds.) Michal Murawski & Jane Rendell, The social condenser: a century of revolution through architecture, 1917–2017, The Journal of Architecture Vol 22 Issue 3 (London: Taylor & Francis, 2017)
‘What are all the Contributing Factors’ in (ed.) Maria Lind, Gwangju International Biennial 2016 (Gwangju: Gwangju Biennial Foundation, 2017)
‘Where is the “Former” in Necoloniality? Complications of Diversity-Led Inclusion in the Arts and the Dumbing Down of Cosmopolitical Discourse’ in (eds.) Hlavajova and Sheikh, Former West: Art and the Contemporary After 1989 (Massachusetts: MIT, 2016)
‘In Service: art, value, merit and the making of publics’ in (eds.) Burton, Jackson, Willsden, Public Servants: Art and the Crisis of the Common Good (Massachusetts/New York: MIT/New Museum, 2016)
‘Introduction: Community Arts? Learning from the Legacy of Artists' Social Initiatives‘ in (eds.) Tallant et al, Community Arts: Learning from the Legacy of Artists' Social Initiatives Stages 5: Liverpool Biennial Journal (Liverpool: Liverpool Biennial, 2016)
‘Invest in what? How to work together, the Arts Council’s Catalyst Fund and art’s contemporary economic infrastructure’, How To Work Together (Chisehale Gallery, The Showroom, Studio Voltaire, 2015)
‘Art and the Colonisation of Value’ in (eds.) Amundsen & Morland, Curating and Politics Beyond the Curator: Initial Reflections (Hamburg, Hatje cantz, 2015)
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