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Open positions are listed below. For more, view our Art History & Art Conservation Professional Organizations.

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Teaching Fellowship Vacancies – Department of Art History, Art Conservation

and Fine Art (Visual Arts) 2024-2025

 

Teaching Assistantship Vacancies – Department of Art History, Art Conservation

and Fine Art (Visual Arts) 2024-2025

The Department of Art History, Art Conservation and Fine Art (Visual Arts) has Teaching Assistantships available in the following courses for 2024-2025 academic year. TAships are filled according to Group Preferences set out in the Collective Agreement between Queen’s University and the Public Service Alliance of Canada

Applications are due no later than Friday August 9, 2024

Responsibilities

The teaching assistant duties include but are not limited to grading assignments, attending lectures and tutorials in person, office hours with students, and answering emails. More specific expectations will be covered at the beginning of the term.

 

ARTH 121: Global Art Histories: Parallels & Contacts

Fall Term ON CAMPUS

An introduction to the study of art, architecture, and material culture from a global perspective, including Asia, Europe, Latin America, and Africa. Organized around themes, parallels and connections will be drawn between artistic objects and buildings from across history and around the world. Case studies consider art and architecture’s relationship to religion, monarchy, colonialism, indigeneity, missionization, cultural appropriation, commodification, and self-representation. Others will consider medium, technique, perspective, composition, and art’s relationship to narrative and meditation.

ARTH 210: Introduction to Technical Art History

     Fall Term ON CAMPUS

Looking into a painting’s genesis: Technical Art History looks closely at the materials and techniques used to create art -- from Early Italian panel paintings to Piet Mondrian's abstract canvases -- and better understand when, how, why and by whom these works were created.

ARTH 212: Arts of the Middle Ages

Fall Term ON CAMPUS

We explore the pivotal period of European, North African, and Middle Eastern art history between c. 300-1400. This period not only brought forth our dominant systems of faith and their related artistic traditions (the mosques of Islam, the churches and chapels of Christianity), but also many of our institutions (monarchy, the earliest universities), and gave shape to many of our cities (Paris, London, Rome, Istanbul, etc). This course reframes the period through careful contextual analyses of major monuments and argues for the importance of the medieval world for shaping world art.

ARTH 226: Modern Arts in a Globalizing World

Fall Term ON CAMPUS

This course examines the histories, meanings, and sites of modern arts in a globalizing world. Students become familiar with key art works, transnational and global networks of art, shifts in critical conceptions, and art historical problems surrounding modernity, modernisms, and modern arts.

ARTH 250: Art, Society and Culture

Fall Term ONLINE

This online course is an introduction to the social conditions and cultural movements that shaped nineteenth-century European visual arts in their global context. Two main themes will be stressed:  1) the tension between modernity and anti-modernism and 2) competing views on the very nature of the visual arts.  The dramatic social and political developments of the period were reflected in diverse cultural movements, some of which embraced change while others rejected it and looked to the past for artistic models.  Closely related to these cultural movements was the fundamental question of what comprised the visual arts.  For example, increased exposure to non-Western visual culture challenged European assumptions about art.

 

ARTH 272: Art, Society and Culture

Fall Term ON CAMPUS

This online course is an introduction to the social conditions and cultural movements that shaped nineteenth-century European visual arts in their global context. Two main themes will be stressed:  1) the tension between modernity and anti-modernism and 2) competing views on the very nature of the visual arts.  The dramatic social and political developments of the period were reflected in diverse cultural movements, some of which embraced change while others rejected it and looked to the past for artistic models.  Closely related to these cultural movements was the fundamental question of what comprised the visual arts.  For example, increased exposure to non-Western visual culture challenged European assumptions about art.

ARTH 277: Artists and Artisans in South Asia

Fall Term ON CAMPUS

Focusing on a selection of thematic studies from across history, from the Indus Valley Civilization to the present day, this course examines a range of artistic and artisanal works across South Asia including painting, architecture, arts of the book, sculpture, textiles, metalwork, and ceramics, as well as theories of aesthetics and craftsmanship.

ARTV 101: Introduction to Visual Studies

Fall Term ON CAMPUS

What does ancient Roman graffiti, Medieval stained glass, and Tik Tok have in common? How are we influenced by the images, screens, and media that we encounter daily, be it in advertising, news media, television, movies, video games, and social media?  Delve into the dynamic realm of visual culture, exploring its role in shaping society, politics, and personal identity; and explore theories and ideas to interpret and analyze what we see and experience as visual culture.

ARTV 102: Meaning-making through Visual Art

Winter Term ON CAMPUS

An introduction to the production of meaning through art making across a range of visual media. Although different in their final forms, all works of art are the product of a series of decisions (material, formal, conceptual, cultural, political, relational) that create effects and meanings. These meanings are shaped by different perspectives and worldviews, and they shift over time or across different contexts. In this course, students will be introduced to a variety of artistic processes and use these to convey concepts gaining critical awareness of how their works engage various audiences.

ARTF 125: Introduction to Studio Art in Printmaking

Winter Term ONLINE

This survey course introduces various Printmaking techniques including monoprint, relief, etching, digital and hybrid methods. Students focus on applying the various methods to personal research interests to create original print based imagery that demonstrates formal, conceptual, historical and contemporary consideration.

ARTH 122: Curating Art Worlds

Winter Term ON CAMPUS

This course introduces students to key "art world" institutions, such as museums, artist-run centres, biennales, and auction houses, by examining their histories, current practices, and future challenges. Using a case study approach, the course provides students with introductory professional skills, concepts, and ideas to think and work in a diversity of arts careers while gaining transferable skills.

ARTH 203: Art and Popular Culture

Winter Term ON CAMPUS

What does The Matrix Trilogy have to do with critical theory? What does Harry Potter tell us about our fascination with the Middle Ages? What is “camp” and what does it have to do with queer culture and representation? As art is freed from the confines of the gallery where it is conventionally located in Western art history, it potentially becomes a “popular”, even democratizing medium accessible to anyone with access to television, radio, urban space, and the internet.

ARTH 215: Humanity and Divinity in Renaissance Art, 1500-1600

Winter Term ON CAMPUS

By examining the variety and complexity of Renaissance art, from Michelangelo's muscular giants to Bosch's perversely playful monsters, this course explores how Renaissance artists and their patrons understood what it means to be human and how they imagined in new ways God, Heaven, Hell, and angels (genderless and bodiless beings). By discussing both such famous works as Leonardo da Vinci's Mona Lisa and such little-known ones as prints of witches, we will study ideals of gender, constructions of power, and depictions of marginalized peoples.

ARTH 260: Culture and Conflict

Winter Term ON CAMPUS

An investigation of the impact of war on art and architecture, as well as human attempts to preserve cultural heritage. A chronological or thematic approach may be taken, with focus placed on one or more case studies, such as: the Sacks of Rome, the Napoleonic wars, Nazi looting, the Cultural Revolution in China, and Afghanistan under Taliban rule.

ARTH 274: Architecture and Empire

Winter Term ON CAMPUS

Offers a critical assessment of the relationship between imperialism and architecture with a focus on the European empires in Asia, Africa, and Latin America from the 15th to 20th centuries. Using case studies organized chronologically and by empire, this course will look at the architecture of European colonies not just from the viewpoint of the colonizer but also from that of the colonized. It will consider how architecture functions as an image of power and nostalgia for the colonizers but how strategies used by colonized people preserved their own architectural traditions and iconography in the architecture and subverted imperial goals.

ARTH 292: Modern Architecture: Aesthetics, Capitalism, Industry

Winter Term ON CAMPUS

An examination of architecture as it has developed in relation to the economies, technologies, and social practices of the modern world. Our focus will include architectural aesthetics, materials, structures, technologies, and spaces.

 

Teaching Assistantships are filled according to Group Preferences set out in the Collective Agreement between Queen’s University and the Public Service Alliance of Canada (PSAC 901

First Preference – Group A

Is for qualified graduate students registered as:

1. students in a department or program in which the TAship will be offered; or
2. students in an interdisciplinary program with TA budget resources, and for whom the TAship has been granted as part of the funding commitment offered by the Employer.

Second Preference – Group B

Is for qualified graduate students registered as:

1. students in a department or program in which the TAship will be offered; or
2. students in an interdisciplinary program with TA budget resources, and who are in their first unfunded year of their graduate studies program.

Third Preference – Group C

Is for qualified graduate students registered as:

1. students in a department or program in which the TAship will be offered; or
2. students in an interdisciplinary program with TA budget resources, and for whom
3. the TAship will not form part of the funding commitment offered by the Employer; or
4. there is currently no funding commitment provide by the Employer.

Fourth Preference – Group D

Is for qualified graduate students that have previously held a TAship or TFship for the Employer.

Fifth Preference – Group E

Is for qualified graduate students that have did not meet the criteria as set out in 12.04 A, B, C, or D.

 

APPLICATION PROCESS

Applications are being accepted immediately and are due no later than Wednesday August 7, 2024.

Please ensure you indicate which applicant group you are in.

• Group A and B Applicants

Please complete and submit the indicating course preferences.

• Groups C, D and E Applicants

Please complete and submit the In addition, upload a cover letter and curriculum vitae outlining academic accomplishments and relevant experience along with your unofficial transcript.

Please note that incomplete applications will not be considered.

Posting Date: July 9, 2024