The Tyler School of Art and Architecture has launched a unique arts management track within its MA in Art History degree program, which engages timely and fresh perspectives framed by Tyler’s values of equity, inclusivity, access, public engagement, and exploration.
Art and society form a juncture where the frictions, aspirations, contradictions, pain, and passions attached to democracy converge. Now more than ever, there is a need — and call — for leaders equipped with a deep understanding of the evolving civic role of cultural institutions, and the aesthetic and ethical dimensions of connecting art and audiences.
Tyler’s arts management track is designed to address this need by supporting the development of skills and imagination that comprise modern leadership. Rather than provide job training that silos, Tyler empowers students to navigate the diverse and evolving landscape, equipping them to pursue a wide range of career paths.
“The economic and political dynamics shaping the current cultural moment are challenging the field to reexamine its history, practices, foundational assumptions, and the ways in which organizational leadership is expressed,” said Linda Earle, professor and graduate director of the MA in Art History/Arts Management Track.
“COVID-related economic and programmatic disruption and calls for justice are also shaping discourse on institutional ethics, cultural equity, access and public service,” Earle continued. “These ideas frame our core classes and provide context for the development of skills and problem solving within the study of practice and policy.”
Positioned within an acclaimed art and architecture school, the arts management track in art history collaborates with Tyler’s programs in Architecture, Community Development, and Community Arts Practices, as well as art disciplines where students and faculty are committed to social change and solving real-life problems through their creative practices. As part of Temple, Tyler students have access to the academic resources of a large, public research university.
Located in Philadelphia, home to a diverse and resilient creative community and a renowned arts and culture scene with vital public programs, Tyler utilizes the city as a living laboratory. Students apply their skills and serve in museums, community-based organizations, the commercial art world, and philanthropic positions, among others.
“We want to actively engage students in our vision of making Tyler a resource in Philadelphia for fresh thinking about ethical, inclusive practices and innovation models of cultural policy management and community building,” said Earle.
Questions? Email Tyler’s Art History Department at email@example.com.
Learn more and apply now at tyler.temple.edu/graduate-admissions.
“Black infants in America are now more than twice as likely to die as white infants—11.3 per 1,000 black babies, compared with 4.9 per 1,000 white babies, according to the most recent government data—a racial disparity that is actually wider than in 1850, 15 years before the end of slavery, when most black women were…
In 1850, when Dr. Robert W. Gibbes commissioned J. T. Zealy to make daguerreotypes of persons held in slavery in and around Columbia, South Carolina, for Harvard Professor Louis Agassiz to use in support of his theory that African people were a separate species, daguerreotypes were at the height of fashion.
The show, which honors the 50th anniversary of an exhibition history once ignored, continues a series of projects documenting Wilmington’s contemporary art scene.
he ownership of images has a long and nuanced legal history, which has evolved dramatically in recent years as cultural standards and photographic technologies have rapidly advanced
Renty and his daughter Delia. Renty was an enslaved African, kidnapped from the Congo, sold and forced into slave labor on the South Carolina plantation of B.F. Taylor
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.
As a scholar of African American history and photography whose work has focused on the status of violent images in museums and archives, I fully support the validity of Ms. Tamara Lanier’s claim and the amicus brief.
The daguerreotypes of Renty Taylor, Delia, Drana, Alfred, Jack, George Fassena, and Jem remained in an unused storage cabinet until 1975, when it was discovered by an employee of the Peabody Museum.
I am writing in support of the amicus curiae brief submitted by Professor Ariella Aïsha Azoulay of Brown University for the full restitution of the daguerreotypes of Renty Taylor and his daughter Delia, currently held by Harvard University, to their familial descendant, Tamara Lanier.