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Following reports of Italian art historian Germano Celant getting paid three-quarters of a million Euros (~$1 million) to curate a pavilion for the upcoming Milan Expo, The Art Newspaper conducted an investigation into the pay of independent curators. After surveying “around 40 international curators and biennial organizers,” they found compensation varied wildly, with the usual suspects on the international circuit being the best-paid gigs. Most lucrative are Documenta and the Venice and Gwangju Biennales:
Our research suggests that curators of the Venice Biennale earn around €90,000 a year; the total fee ranges from around €120,000 to €180,000, based on the amount of time they have to prepare. We estimate that the Gwangju Biennale, around two years’ work, pays between €100,000 and €150,000.
“As is the case in most economic sectors, most professionals are either grossly underpaid or grossly overpaid,” an anonymous “former biennial curator” told the paper.
A number of considerations affect the relative value of the curatorial fee, from expenses to benefits to — naturally — the amount of work involved. And although freelance curators might garner more visibility than their museum-bound counterparts, the remuneration, by and large, is the same:
With a few well-funded exceptions, most medium-sized biennials pay the equivalent of a museum curator’s annual salary (but require between one and two years’ worth of work). A survey published by the American Alliance of Museums in 2012 reports that an assistant curator makes around $30,000, while a chief curator can make more than $100,000 a year. Salaries for entry-level curators in UK national museums range from around £23,360 ($38,320) at the Tate to £27,089 ($46,122) at the British Museum, according to figures provided by the institutions. Senior curators can expect to earn up to £60,000.
Every utopia is a social experiment, the artist suggests in this commission for the Performa performance art biennial, and we’re ultimately the guinea pigs.
“You can’t live in a house that’s built upon your back.” This is one of the more memorable phrases spoken by the scripted lovers of Tschabalala Self’s Sounding Board, what Performa describes in its promotional materials as an “experimental play.” That phrase, uttered by one romantic partner to the other, operates as guidance, warning, dictate,…
Two K-12 art teachers will each receive a $1,000 cash gift and an additional $500 to put toward classroom art supplies. Nominations are due October 31.
A commitment to trans subjects, and their queer communities, is manifested as a holding environment made approachable by our concern, grounded in intimacy and legacy, enfolding any viewer who will stop, listen, and receive love.
Todd Chandler’s documentary Bulletproof looks at the many people monetizing the societal rot of school shootings.
In Philadelphia, a series of solo shows delves into the interdisciplinary practices of graduates whose work explores identity, familial bonds, political constructs, and nature’s fragility.
On November 14, join Columbia University School of the Arts for virtual information sessions with the program chair, faculty, and staff.
The artists released the risograph-printed booklet series Organizing Power to assist in the arduous process of assembling a bargaining unit and negotiating.
From 1963 through 1968, Warhol produced nearly 650 films, including hundreds of Screen Tests and dozens of full-length movies.
Melvin Edwards, Maren Hassinger, and Alison Saar are among the artists kicking off the Destination Crenshaw initiative.