Duke University undergraduate and graduate students can gain important work experience at the Nasher Museum in many ways: internships for academic credit, paid summer internships and museum study grants, work at the museum, or graduate assistantships.
UNDERGRADUATE INTERNSHIP COURSE
ARTHIST 310 and ARTHIST 311 are practicums held at the Nasher Museum, designed to provide professional museum experience as well as an opportunity to explore the museum and its operations from a variety of viewpoints. Students must be available for a total commitment of approximately 6 hours/week for a weekly seminar with museum staff, plus 5 hours working in the intern’s assigned department (schedule to be arranged between the student and supervising staff). Students are evaluated on their work in their assigned departments, participation in the weekly seminar, and the completion of short, written assignments such as a blog post, artwork spotlight, and exhibition analysis. Grades are assigned by the supervising staff in consultation with the instructor.
Interns may apply to work with the following departments: academic programs, business office, curatorial, communications/marketing, development/external relations, museum education, or registrar/collections management. NOTE: only one student each semester will be assigned to the curatorial department.
To apply for a permission number for ARTHIST 310, the internship, email a current resume and cover letter that outlines how the museum internship fits into your educational and future career plans, as well, specify your choices for departments in which you’d like to work.
Marianne Wardle, Andrew W. Mellon Curator of Academic Programs (firstname.lastname@example.org).
Relevant departmental staff will review applications and if selected, you will be sent a permission number to enroll.
SUMMER INTERNSHIPS IN MUSEUM STUDIES
The Nasher Museum offers paid summer internships for Duke Students:
- To work at the Peggy Guggenheim Collection in Venice, Italy (deadline is Friday, November 17 at 5 PM)
- Looking for an internship at an art museum? Find a list of them here.
DUKE STUDENT JOBS
Students fill many part-time paid positions at the museum. Work-study students are welcome.
VISITOR SERVICES REPRESENTATIVE
Visitor Services Representatives handle admissions fees, answer the telephone and direct calls, greet and keep an accurate count of visitors, assist visitors with the purchase of museum memberships and answer visitors’ questions.
If interested please contact Myra Weise, Visitor Services Manager, (email@example.com).
Gallery Guides lead tours of the museum for K-12 students, adult groups and the public. Students must commit to 3 semesters. Recruiting is held at the end of the spring semester. If interested contact Jessica Ruhle, Manager of Public Education, (firstname.lastname@example.org).
Periodically work-study positions are available with specific museum departments, including curatorial, education, membership, registrar, special events and public affairs. For information about possible openings, contact Kate Piva, Deputy Director of Operations, (email@example.com) or 919-684-5126.
Security guards help keep art safe and enhance the visitor experience. Pay is $10/hour, work study is welcomed, and shifts are flexible. If interested, contact Sgt. Jimmie Jones, Manager of Protection Services, (firstname.lastname@example.org) or 919-684-3352.
ACADEMIC PROGRAMS GRADUATE ASSISTANTSHIPS
Graduate assistants provide support to the office of Academic Programs. Assistants organize and lead tours for university classes visiting exhibitions at the Nasher, lead discussions in study storage, research on the permanent collection, and complete various administrative tasks, among other responsibilities. If interested, contact Marianne Wardle, Andrew W. Mellon Curator of Academic Programs, at email@example.com or 919-684-5203. Complete details.
For general information on application and hiring procedures, please contact Kate Piva, Deputy Director of Operations, (firstname.lastname@example.org) or 919-684-5126.
Only a small portion of the museum’s permanent collection is on view at any time, so a variety of tools are available to help you explore the Nasher’s artworks, whether currently on view or in storage.
Information about artworks in a range of media, styles, periods, and cultures can be found at our new website promoting visual literacy How Do You Look?
The Nasher Museum’s Study Storage offers faculty and students up-close experience with works of art not currently on view in the exhibition pavilions. Facilities include works on paper with more than 3,000 prints and drawings; painting storage with works from the Renaissance to the present; and object storage with Greek and Roman pottery and glass, Ancient American ceramics and African and European Medieval and Renaissance sculpture and artifacts. Study Storage is a gift of Christine and Pierre Lamond and Alice Martin Whelihan.
A wide range of departments have visited Study Storage including
- Art, Art History and Visual Studies
- Asian and Middle Eastern Studies
- Classical Studies
- Cultural Anthropology
- Duke Divinity School
- Environmental Sciences
- Foreign Languages
- Kenan Institute for Ethics
- Thompson Writing Program
- Theater Studies
- Women’s Studies
To arrange a visit to Study Storage contact, email email@example.com. Most visits to storage take place between 10 AM and 5 PM.
Please note that all visitors are requested to leave bags and backpacks in the lockers by the Lecture Hall when they arrive. Only pencils are allowed for use in the exhibition pavilions and Study Storage and no food or drinks are permitted in these areas.
Gallery for Learning
Students can work with faculty to design installations in the museum’s Academic Focus Gallery relevant to their courses. The gallery is located on the main floor near the University Classroom. Departments that have utilized the Academic Focus Gallery include: Classical Studies; Cultural Anthropology; Romance Studies; Eurasian Studies and Art, Art History & Visual Studies.
The Academic Focus Gallery is a gift of Susan and Trent Carmichael and the Morrow Family.
Students in the course “The Archaeology of Death” report on objects from the collection. Photo by Marianne Eileen Wardle.
The Prince of Los Cocuyos
August 5 – September 24, 2017
This installation is inspired by The Prince of Los Cocuyos: A Miami Childhood by Richard Prince, the Duke University Class of 2021 Common Experience summer reading selection. The Duke Common Experience Program is designed to give incoming students a shared intellectual experience with other members of their class, with the summer reading choice as a key focal point. A committee composed of students, staff and faculty selected the book after an extensive review of numerous recommendations, along with input from the larger Duke community.
Richard Blanco’s memoir depicts a childhood and coming-of-age in the Miami suburb of Westchester during the 1970s and ‘80s. Surrounded by his Cuban-refugee family, Blanco describes his struggles navigating his identity, both cultural and sexual, and finding his place in the world.
In past years, Duke faculty and staff have responded to the themes of the book and the chosen artwork. This year, we have selected passages from the book that relate to the artworks, and ask for your responses to the questions included by writing on a comment card and placing it in a photo album installed in the gallery.
Copies of The Prince of Los Cocuyos can be purchased in the Nasher Museum Store.
IMAGE ABOVE: Alexander Kosolapov, The History of All…, 1990. Acrylic on canvas. Museum purchase, acquired with the assistance of Mr. and Mrs. Michael Wilsey, Atherton, CA. 2000.16.3. 50 x 80 in. (127 x 203.2 cm)
Exploring Art and Architecture—Foundations and Histories
October 1, 2017 – January 7, 2018
These works representing a variety of artistic media have been selected from the permanent collection by art history and visual studies Professor Susanna Caviglia for use by her students over the course of this semester. In “Exploring Art and Architecture—Foundations and Histories” (Art History 104), also co-taught by Professor Neil McWilliam, Duke University students develop skills in visual analysis and historical interpretation of art from antiquity to the present; examine major theoretical frameworks, key movements and concepts; explore how we look at and talk about works of art, investigate a variety of approaches to their study and how the social and political roles of art change over time.
The first selection of works “Drawing Foundations and Artistic Training” will be up through October 29th; the second selection “Body in Art” will be on view beginning on November 7th.
IMAGE ABOVE: Hendrik Goltzius, The Farnese Hercules from the series Three Famous Antique Statues at Rome, c. 1592. Engraving on paper, 18 3/4 x 13 5/8 inches (41.3 x 29.7 cm). Collection of the Nasher Museum of Art at Duke University, Durham, North Carolina. Purchase of the Friends of the Art Museum, 1986.1.1.
Europe in Transit: The Arts of Migration
Professor Helen Solterer
February 2 – July 14, 2017
Europe today faces waves of migrants from the South, as well as refugees from the war zones of the Middle East. This migration represents a threat for some on the Right as it feeds debate over the European Union’s ‘austerity’ policy that tightens restrictions for full rights in the EU. These political positions take for granted that a core of Europe exists, one assumed to be stable, even uniform. This course investigates the opposite view of European culture by considering currents of migration that have defined & enriched European cultures over centuries. It tests this view through the literary and visual arts, and takes an historical approach.
Duke Unversity seminar “Art History/Visual Media Studies/Romance Studies 202 and French 429” is structured as a collaborative seminar with the Nasher Museum, we explored artworks that could have been made by itinerant craftsmen, or could have been carried long distances by their subsequent owners. The seminar was designed, in part, as a practicum, initiating students in the preparatory work for a future small exhibition. The class is using this installation in the Academic Focus Gallery as a study space for the works selected from the Nasher’s permanent collection.
We consider these artworks in the contexts of first of A Seventh Man by John Berger and Jean Mohr, and Dispossession: The Performative in the Political, by Judith Butler and Athena Athanasiou, which give us tools for analyzing the arts of migration.
Chinese Art: 1900 to the Present
Professor Stanley Abe
October 15, 2016 – January 22, 2017
This exhibition for the class “Chinese Art: 1900 to the Present” offers the opportunity to view a small but distinguished group of Chinese art. The works span the history of Chinese art from the earliest periods (Shang Dynasty, c. 1500–c. 1050 BCE) to the twenty-first century.
Most important are scholarly objects—the brush, the ink stone and implements for producing ink, and identifying seals to afix in red on the completed calligraphy or painting. Writing and painting are a single process and act. The shape, density and nuance of the brushed line is the art.
August 6 – October 2, 2016
This installation was inspired by Bryan Stevenson’s memoir, Just Mercy: A Story of Justice and Redemption (2014), the 2016 Common Experience summer reading book for incoming first-year students at Duke. The works on display come from the Nasher Museum’s collection. They broadly reflect themes found throughout Just Mercy, including the law, the criminal justice system, imprisonment, and racial and socio-economic injustices. Twenty-three Duke faculty members have offered their personal responses to the artworks and to Stevenson’s book. Read their responses (pdf).
Click any image below to see in full.
Just Mercy is Bryan Stevenson’s personal account of fighting for justice in the U.S. legal system. While a student at Harvard Law School, Stevenson interned at the Southern Prisoners Defense Committee in Atlanta, Georgia, representing poor clients on death row. This experience inspired him to later co-found the Equal Justice Initiative (EJI) in Montgomery, Alabama. The non-profit organization provides legal representation to indigent defendants and prisoners who have been denied fair and just treatment in the legal system, most often due to racial and socio-economic biases. EJI also advocates for reforming the criminal justice system. In Just Mercy, Stevenson details several of the cases he has taken on as a defense attorney—individuals wrongly convicted of crimes and sentenced to death, children prosecuted as adults and placed in prisons where they were abused, and mentally disabled people, convicted and sent to jail, their special needs ignored. Working closely with the poor, the accused, the incarcerated, and the condemned has taught Stevenson—and Stevenson, in turn, teaches us—that everyone deserves justice and mercy.
Making Faces at the Intersection of Art and Neuroscience
March 26 – July 24, 2016
“Who sees the human face correctly: the photographer, the mirror or the painter?” –Pablo Picasso
A Bass Connections project team of faculty and students organized this installation exploring the intersection of art and neuroscience of making faces at the Nasher Museum. We see faces everywhere: in electrical outlets, in the headlights and grill of a car and even in the shadows of the moon. But why do we see faces in these objects, and what are the necessary elements for us to perceive them? Do representations of faces have to be realistic for them to be recognizable? And why do faces capture our attention more than other objects? Humans have a particular expertise for faces that biases our perception of them. From an artistic perspective, many of the works presented here push the boundaries of representation in their distortion of facial features, leading us to question the limits of what makes a face. For scientists, they may prompt questions about specific face processing neural mechanisms and the relationship between our perception and human nature. Many of these works seek to challenge our conventional ideas of what elements are necessary to compose a face, while others seek to reinforce them. By merging art and neuroscience, we can reframe our understanding of faces in artwork by exploring both why and how we see them.
This project is part of the work of Art, Vision, & the Brain, a Bass Connections team at Duke exploring the depictions of faces and how our brains make sense of our visual and social world.
Learn about Eye Tracking and Art from Pearson Lab.
Monica Huerta, Ph.D, Provost’s Postdoctoral Associate, Women’s Studies
Elizabeth Johnson, Ph.D, Assistant Research Professor, Neurobiology, and Associate Director, Duke Institute for Brain Sciences
Eleonora Lad, MD, Ph.D, Assistant Professor, Ophthalmology
Jeff MacInnes, Ph.D, Postdoctoral Fellow, Center for Cognitive Neuroscience
Guillermo Sapiro, Ph.D, Edmund T. Pratt, Jr. School Professor of Electrical and Computer Engineering
Marianne Wardle, Ph.D, Andrew W. Mellon Curator of Academic Programs, Head of Education & Interpretation, Nasher Museum
Kaitlin Henderson, Masters in Liberal Studies (Duke class of ’16)
Anuhita Basavaraju, Neuroscience Major (Duke class of ’18)
Peter Cangialosi, Neuroscience and French Major (Duke class of ’16)
Sophie Katz, Neuroscience Major (Duke class of ’17)
Eduardo Salgado, Neuroscience and Psychology Major (Duke class of ’18)
Christopher Yoo, Biology Major (‘18)
For more information about using the Academic Focus Gallery, contact Marianne Wardle, Andrew W. Mellon Curator of Academic Programs, at firstname.lastname@example.org.
Nasher MUSE (Museum Undergraduate Student Exec) serves as the undergraduate student voice of and for the Nasher Museum. As a bridge between the widely diverse student body and the museum, MUSE fosters student ownership of the museum, advises museum staff on effective ways to engage the Duke undergrads, and is proactive in promoting the museum throughout the Duke community and beyond.
MUSE organizes student-centered events at the museum many times each year and initiates critical conversations about contemporary issues in the museum environment.
MUSE does not plan or select exhibitions for the museum.
Interested in joining MUSE? Please complete an application and email it to email@example.com and firstname.lastname@example.org. Applicants who are selected for interviews will be contacted by the end of September.
PLEASE NOTE: Membership with MUSE requires significant personal initiative and time commitment to attend weekly meetings, plan programs and staff programs/events. Members often spend considerable time outside of weekly meetings to plan and promote events. Attendance at events is also required.