Category Archives: Careers and Alumni

Abstraction at the RBSA: Undergraduate curator Emily Robins explains what it takes to put together an archive exhibition

Thirteen artworks, two volunteers, one exhibition. This autumn the Royal Birmingham Society of Artists (RBSA) will present their latest archive exhibition, Abstraction at the RBSA. The show is being curated entirely by two University of Birmingham undergraduate students, Tate Gronow and me, Emily Robins.

I’ve been volunteering at the RBSA for a while now, primarily in their archive department. I usually spend my time responding to archive enquiries from members of the public and updating the museum databases, while also researching and organising collection and archive material. In November 2014 I was offered an opportunity that would be the envy of art history students across the country, a chance to curate in its entirety a public exhibition at a prestigious local gallery. It was, quite clearly, an opportunity not to be missed!

Tate and Emily are pictured here with Joan Woollard's  'The Races', which is one of the Artworks up for adoption. Woollard was the first female president of the RBSA.

Tate and Emily are pictured here with Joan Woollard’s The Races, which is one of the Artworks up for adoption. Woollard was the first female president of the RBSA.

Since January, Tate and I have been working on this rather exciting undertaking. Our chosen theme for the exhibition is ‘Abstraction’ and we began by searching the archive for interesting pieces which fitted that category. We came across a wide variety of works and decided on a roughly chronological approach to the exhibition, charting abstraction as a concept from works in the Impressionist style towards pieces such as Caged Yellow (1996, RBSA) by William Gear, which are fully abstract in their use of line, tone and colour. We were then able to start preparing all the written interpretation needed for the exhibition, including text panels and exhibition labels, as well as marketing material such as articles and press releases.

Initially, I have to admit, I was slightly intimidated by the prospect of this project, but find myself facing each new challenge with enthusiasm, continuing to push myself out of my comfort zone. The sheer amount of written material required for the exhibition was something which I found daunting at first, but, I have now come to enjoy this part of the process the most! My eyes have well and truly been opened to the nitty-gritty aspects of curating and all that it involves, and I am relishing the entire experience.

The RBSA is first and foremost an artist-led charity, and therefore, fundraising remains a core part of the gallery’s ethos. Without the dedication and support of volunteers and donors, opportunities like this, a chance to curate my own public exhibition, would not be possible. Having worked behind the scenes as a volunteer I’ve been lucky to see some of the treasures in the RBSA’s collection which cannot be on display because of their fragile condition. The Adopt-an-Artwork fundraising scheme helps to restore these beautiful works, so that they can go back on exhibition and be appreciated by RBSA visitors for years to come.

We are currently fundraising for some conservation costs of objects in the exhibition, please visit RBSA’s website to find out how you can ‘adopt an artwork’ to support us! –

'Seascape' by Norma Rhys Davies, shown here, is in desperate need of conservation in order for it to be included in our exhibition.

Seascape by Norma Rhys Davies, shown here, is in desperate need of conservation in order for it to be included in our exhibition.

While volunteer roles often focus specifically on one particular department such as marketing, conservation or education, this project has allowed us to dip our toes in a whole variety of roles. Each week we are gaining new experiences, skills, and insights, not just on gallery practice but the arts sector more broadly. Although it has been hard work I think we can both agree that we’ve benefited from gaining curatorial experience as well as being involved in less familiar aspects, like public engagement and fundraising. Overall, this opportunity is definitely proving to be a fully hands-on, immersive and irreplaceable experience for budding art-world professionals such as ourselves!

Of course, Tate and I still have much more left to do over the coming months, including the exhibition install, preparations for our opening private view (watch this space for invites!) and a full events programme of talks and workshops to finalise. Look out for further blogs on the Golovine updating you on our progress!

Abstraction at the RBSA opens on the 5th of October.

Working at White Cube: Graduate Hang Nguyen on her recent internship

Since graduating from the Department of Art History, Film and Visual Studies at The University of Birmingham, I thought life could only get easier with a degree under my belt. I started the summer as an optimistic graduate, thinking “Yeah, I’ve got this” for every job/internship/work experience placement that I applied for. This feeling of optimism lasted about two weeks. I made out over thirty applications but only heard back from one, at the White Cube Gallery.

I applied to the White Cube through their website, after visiting their Bermondsey gallery in the summer and having been impressed with what I saw. I sent a long cover letter detailing everything I knew about contemporary art, thanks, in no small part, to the BA I’d just finished at Birmingham, in the hope that my application would stand out. Luckily, it paid off!! I was invited to interview with the Head of Archives who decided that I was a good enough candidate to be her intern and assistant. Thus began my journey as an Archive Editorial Intern for White Cube Gallery.

On my first day at White Cube, I was given a tour of the gallery. The gallery is a refurbished 1970’s warehouse and the space is amazing. There are three major exhibition spaces as well as an archive space, private viewing rooms, office space, a warehouse, and auditorium and a bookshop. The warehouse is one of the best spaces: the gigantic space houses loads of works of art and I was lucky enough to see pieces by the likes of Marc Quinn, Eddie Peake and Jac Lierner, which were being photographed and stored.

In my role as Archive Editorial Intern, I was expected to manage the White Cube’s archive. The gallery holds a comprehensive archive with material dating from Jay Jopling’s first charity auction. Every single artist represented by White Cube has archive material, which ranges from press articles, letters and other ephemera (I found an artist’s paint palette during one of my trawls through the boxes). As an intern, I was expected to maintain this archive by requesting material from exhibitions that the artists in question were involved in, and organise them properly in hard and digital formats. This entailed corresponding with international and national galleries and museums to acquire this material.

A view of the archive room. The wall shows the sign from the first gallery space and all the invites for the exhibitions there which were self-portraits of the artists

A view of the archive room. The wall shows the sign from the first gallery space and all the invites for the exhibitions there which were self-portraits of the artists

In the second year of my BA degree I did a module called ‘Inside the Gallery’, and the module played a formative role in my decision to pursue a career in the professional art world. After curating a hypothetical exhibition and working on the interpretation material for the exhibition, which is the main output of the Inside the Gallery module, I decided that working in a gallery was exactly what I wanted to do. What’s more, the knowledge and experience I gained from the module was a considerable help during my internship, because I was already aware of the ways in which galleries operate, especially when it comes to marketing, publishing and the press. It also helped me during my exhibition material requests as I felt comfortable taking the responsibility of corresponding directly with other art institutions and understood my responsibility in maintaining the White Cube archive.

One of the projects I was given during my internship was to curate an exhibition on Tracey Emin, based on archival material that the White Cube possesses and features writings by Emin. This exhibition had to be visually powerful as well as representative of the White Cube’s holdings of Emin’s material. The focus was to be on Emin’s solo exhibitions and notable projects, such as her column for The Times Magazine and her contribution to the Olympics. The material I had at my disposal, the contents of the archive, includes hand-written letters to Jay Jopling as well as postcards sent by Emin from her holidays to the staff at the London gallery. There is, in short, a wealth of material in the archive, which is regularly used by the gallery as promotional objects or research material.

Image from a Tracey Emin event where she spoke about her inspiration for her exhibition

Image from a Tracey Emin event where she spoke about her inspiration for her exhibition

My internship lasted several exhibitions. The Gallery mounted shows on David Hammons, Tracey Emin, Etel Adnan and Liza Lou and Senga Nengudi, all of which I was able to contribute directly towards. Everything I did had a purpose for the archive. As an intern, I didn’t think I would get so much responsibility working in the gallery but I was responsible for the artists’ bibliographies and publications. The internship also allowed me to visit other galleries and join in with the events at White Cube, such as private views, talks and lectures. I had the privilege of attending a private view of Anselm Kiefer’s Royal Academy exhibition which was guided by Tim Marlow.

My experience at the Barber Institute, where I regularly volunteered during my degree and where the Art History department is based, the RBSA, where I worked during my degree, and the White Cube has demonstrated quite clearly that not every gallery works in the same way, and my combined experience has introduced me to a wealth of careers that are possible in the arts sector. The internship also allowed me to develop my understanding of contemporary art and its processes. I did work directly for artists studios, like Jake and Dinos Chapman and Mona Hatoum, which has given me a valuable insight into the way artists mediate between dealers and their consumers.


From my experience, I would definitely advise sending out loads of CVs because you never know what you might get. During my time at White Cube, I was also offered work experience with Christie’s House Sales department. A placement I applied for in August, I was offered a chance to work there in November for two weeks. Things like that can happen – you get nothing and then suddenly two things come at once! The past year after graduation has been incredibly valuable for my own personal development and I think I finally have an idea of what I actually want to do. My final piece of advice to all would-be graduates is not to worry about securing a job straight away, particularly in the arts sector, gaining the professional experience through voluntary or unpaid work is just as important as the knowledge gained from the degree…so I guess…just go for it!

Hang Nguyen


Funding for Work Experience 

The Department is pleased to announce the Matt Carey-Williams and Danny Roark Awards, a generous donation funded by one of our alumni that will allow undergraduate students to apply for bursaries of c. £300-500 to enable them to undertake internships, work experience and placements.

The University of Birmingham UK Professional Work Experience scheme also offers financial support for undergraduates (except final years) to undertake work experience in the UK in the summer vacation. Find out more here. The deadline for applications is 29 March. Last year, History of Art student Olivia Weightman received funding to undertake work experience at Christie’s. Read about her experience here.

The Association of Art Historians (AAH) also runs an Internship Award. There are two awards of up to £2,000 each towards placement-related expenses such as accommodation, travel and food. The Internship Award supports both full-time and part-time placements/ internships. The deadline is 1 April.

AAH Careers day at The Barber Institute of Fine Arts, by MRes student, Holly Wain

This year the Association of Art Historians’ Careers Day, organised by the AAH student Committee, was held right here on campus at the Barber Institute of Fine Arts, 25 October 2014. This was a great opportunity to listen to the wise words of speakers from a range of arts and heritage institutions without having to travel across the country! The day was split into several talks with the opportunity for informal questions over tea breaks and lunch.

AAh careers day

AAH student committee member and UoB PhD student, Imogen, who organised the careers day

The speakers represented a really wide range of careers in the arts and heritage sector. This was refreshing to see as it is easy to assume that arts and heritage is limited to museums and galleries. Here, I felt that a wide range of interests had been taken into account. For example, the first speaker was Reyahn King, Head of Heritage Lottery Fund West Midlands – I found her talk particularly interesting as, recently, I have become more interested in pursuing a career in the protection of historic buildings. This is a sector that can appear quite confusing as organisations range from government funded bodies to charities and trusts. Also, there is a distinction between practical conservation and those who manage the strategy and policies. I found Reyahn’s talk very useful as she gave details on her first roles after graduation. Reyahn gave a very positive message to reassure undergraduates, explaining that she did not take the obvious route to work at HLF, but that this was completely fine as you can experience different areas of the sector and still be gaining skills that can be used elsewhere.

Alex careers

Alex is pictured here talking about museum education

Alex Jolly, Learning and Access Assistant at the Barber Institute of Fine Arts, gave us an insight into the roles involved in a museum’s education department. As well as giving a detailed view of the strategy behind making the collections accessible and enjoyable for a wide range of people, Alex gave some helpful general advice for job searching in the sector. I picked up some new websites for searching for job opportunities, for example and National Museum Directors Council website. Alex also stressed that when applying for those first jobs after graduating you should not be afraid to apply for a role if you feel under qualified, as it is enthusiasm and ideas that count.

Hannah careers day

Former UoB History of Art student, Hannah, is shown here talking about her career path

Hannah Carroll, a former History of Art student at the University of Birmingham, explained the day-to-day tasks involved in her role as a Marketing Officer at Birmingham Museums. Hannah encouraged students to volunteer as much as possible to gain a sense of what each role entails and what you would be most suited to. This was important to Hannah as she had never seen herself going into the marketing side of things until she gained that practical work experience.

Connie careers

UoB graduate, Connie, presented on her experience as Pop Art curator

For those looking ahead to a career as a curator, Dr Connie Wan discussed her role as Pop Art Curator at Wolverhampton Art Gallery. She gave us details about her career path, including her collaborative PhD, before explaining her role as a curator. Connie explained that, although the common belief is that a curator ‘points and chooses’, there is, in fact, a whole host of other activities involved in her role: for example, travelling around the world to carry out research in different archives and building relationships with contemporary artists. Connie started out studying graphic design and moved on to research nineteenth-century art before her role as Pop Art curator. She encouraged us to see our lack of knowledge in certain areas not as a hindrance but, rather, an opportunity to learn. I think these words were definitely a reassurance to all students in the audience!

Carly careers 2

UoB doctoral researcher, Carly, talked about her local oral histories project, Digbeth Speaks

The day also included a talk by Carly Hegenbarth, a History of Art PhD student at the University of Birmingham. She presented the academic side to careers in the arts and gave a detailed view of the work involved in further study. Carly’s talk emphasised the rewarding nature of doctoral research in discovering new knowledge, as well as the opportunities to get involved in activities outside of your own research. For example, Carly managed a HLF-funded oral histories project, Digbeth Speaks, in 2013.

Jane careers

Jane can be seen here presenting case studies of her work in conservation

The more practical side to museums was presented by Jane Thompson-Webb, Conservator at Birmingham Museums. Jane began by giving us a detailed account of the different types of work involved in caring for the collections and then gave examples of the projects that she had undertaken, showing the astonishing results with ‘before and after’ photos. Jane described the different career paths available for those interested in a future in conservation, from university postgraduate courses to apprenticeships. [To find out about the current volunteering opportunities at Birmingham Museums with the Conservation department, click here].

To close the day Chris Packham, Careers and Employability Consultant for the Careers Network in the College of Arts and Law at the University of Birmingham, gave us some tips on networking and keeping up to date with what is going on in our chosen fields via Twitter and LinkedIn.

I would like to thank all the speakers for a very informative day with lots of advice and tips for starting out with job searches and applications. I also really appreciated the positive outlook that all the speakers had for our prospects as History of Art graduates.

AAH Art History Careers Day: Saturday 25 October, Barber Institute

We’re delighted that this year’s Association of Art Historians (AAH) Careers Day is taking place at our very own Barber Institute of Fine Arts, University of Birmingham on Saturday 25 October.

The event will introduce a range of careers opportunities which are available to art history students. There will be a series of informal talks by speakers from leading cultural institutions who will share their professional experiences and expertise in areas including curatorship, art management, gallery marketing and education, and research. 

Tickets (includes lunch and refreshments):

AAH members £8; non-members £12

Places are limited and tickets must be bought online in advance: 
Reyahn King (Head of Heritage Lottery Fund, West Midlands)
Dr Connie Wan (Pop Art Curator, Wolverhampton Art Gallery)
Sarah Shirley-Priest (Senior Specialist and Branch Manager, Bonhams)
Jane Thompson Webb (Conservator, Birmingham Museums Trust)
Alex Jolly (Learning & Access Assistant, Barber Institute of Fine Arts)
Hannah Carroll (Marketing Officer, Birmingham Museums)
Carly Hegenbarth (Doctoral Researcher, University of Birmingham)
Chris Packham (Careers Consultant, Arts and Law, University of Birmingham) 

This event is supported by the Careers Network at the University of Birmingham.

Join our Facebook event:

For enquiries, please contact the event co-organisers:
Imogen Wiltshire:
Charlotte Stokes:
Ana Bilbao:

AAH Careers Day Barber Institute


Cadbury Research Library: Special Collections Internship by Holly Wain

After finishing my final year I was lucky enough to undertake a month long internship at the Cadbury Research Library which is the home of the University of Birmingham’s Special Collections and holds approximately 200,000 pre-1850 books and 4 million manuscripts. I had seen the advert through the careers network earlier in the year and I had been using the library during the research of my dissertation, so it seemed like a perfect opportunity for me. I had been interested in rare books and manuscripts during the final years of my degree and the advert mentioned heritage which seemed to fit into other work experience that I had carried out in museums. I realise now, however, that at that point I really had no clue about the work involved in libraries and archives! Throughout the four weeks I learnt an enormous amount about the way libraries and archives differ and I have had a real insight into the role of an archivist, something I am now seriously considering as a career path.

The Cadbury Research Library’s Main Reception, The University of Birmingham, Edgbaston Campus, Muirhead Tower Lower Ground Floor.


The Heslop Reading Room. Open to students, academics and the public.

The Heslop Reading Room. Open to students, academics and the public.

I was chosen along with Hannah Hickman, a Masters student studying at the Shakespeare Institute, to work towards an exhibition and a cataloguing project. As soon as we arrived we were welcomed in as part of the team. Our supervisor, archivist Jennifer Childs, had organised a very detailed schedule for the entire four week period in which she planned time for the exhibition, cataloguing and sessions with each member of staff. This approach was so refreshing and I really appreciated how she had planned the internship to benefit us instead of leaving us feeling like spare parts. During the internship we worked towards an exhibition for the centenary of The First World War which will open in September and will be placed in the Main Library. Jenny and the team offered helpful guidance and trained us in different skills but we were also given the freedom to determine the nature of the exhibition. Jenny planned the schedule so that we had time to work on every part of the exhibition and we were able to experience all the steps involved, from selecting material and narrowing down a theme to working in the conservation studio with conservator, Marie Sviergula to prepare our chosen materials. We also worked on two digital exhibitions on Flickr and the archive catalogue CALM’s image gallery which involved experience in reprographics and Photoshop.

In the conservation studio we discovered that making mounts for photographs is a lot harder than it looks.

In the conservation studio we discovered that making mounts for photographs is a lot harder than it looks.

We were also able to see the work of Hoa, an intern from Melbourne University. Here she is working on watercolours of skin diseases!

We were also able to see the work of Hoa, an intern from Melbourne University. Here she is working on watercolours of skin diseases!

The second part of the internship was spent working with an archivist on a cataloguing project. I worked with Anne George on the Save the Children collection and had the opportunity to sift through the papers of Dorothy Buxton and her sister Eglantyne Jebb, who founded the organisation. The papers, from the early 1920s, were not catalogued and I worked on putting together a more detailed list of items to then catalogue them on the programme CALM. I was trained to use the programme and by the end of the internship I had catalogued just over 500 items! It was hard work looking through folders of small papers and trying to make sense of handwritten scribbles but I found it incredibly interesting. It was a privilege to be able to read through her notes and see history playing out in such a personal way. I really enjoyed making links between figures and events because with every new newspaper cutting or letter I was getting another glimpse into the time period. I also felt very lucky to be able to work with an archivist and contribute to her project.

I am so grateful to the team at the Cadbury Research Library for making the internship so worthwhile in terms of the skills gained but also the knowledge I now have of career paths into archives. Each team member was so interested in our plans and offered invaluable advice. I have enjoyed working at the Special Collections so much that I plan to continue volunteering there during my MRes course starting in September.

Our exhibition, ‘Rest and Recreation: volunteering during the Great War’ opens September 4 in the display case in the Main Library foyer.


Cultural Internships 2014-15: an opportunity not to be missed!

Are you a UoB graduate looking to gain experience in the cultural sector? Then look no further, applications are now open for this year’s Cultural Intern Scheme, so get yours in now!

Successful applicants will be given the opportunity to work in one of the region’s fantastic cultural institutions, with the added support and training offered by the University of Birmingham’s Cultural Engagement team. 6-month paid internships are available at:

BBC BirminghamBirmingham Museums Trust, Birmingham Opera Company, Birmingham Repertory Theatre, City of Birmingham Symphony Orchestra (CBSO), Flatpack Film Festival, Ironbridge Gorge Museum Trust, Performances Birmingham (Town Hall/Symphony Hall), Sampad, Shakespeare Birthplace Trust

For more information on how to apply go to the Cultural Internship webpage, the deadline for applications is 21st July 201UoB crest4.

Having benefited from being a Cultural Intern, I can thoroughly recommend applying for this fantastic scheme, if you would like to read about my experience at Birmingham Museums Trust, see my post here. Read about some of the other interns’ experiences on the UoB Culture blog.

Good luck to this year’s applicants!

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Why I like this module…Women and Artistic Culture in the Late Medieval and Early Modern Period

Joint Honours student, Holly, tells us why she enjoyed this final year module…

Holly Wain, finalist, BA French and History of Art

Holly Wain, finalist, BA French and History of Art

Women and artistic culture is a very interesting and well-formulated module. It has given me a new perspective on medieval art and culture as it draws upon the recent growth of scholarship on women as active subjects of the period. In lectures and seminars we are encouraged to look at art critically and I have been able to see images in a new light. Instead of rewriting past historians’ views we are able to develop our own, through carefully chosen reading lists that enable us to apply contemporary writing on gender to the medieval period.

The module has also helped with my dissertation as it has given me a more in depth understanding of the medieval period and it has tied in with a module in the French side of my degree on contemporary female fiction. I have enjoyed the module as it is not limited to one type of art or one methodology.

Read Holly’s post on her research project on a manuscript in Liège here.

madonna and childThis final year special subject:

•is taught by Dr Elizabeth L’Estrange, a specialist in art and manuscripts of the fifteenth and sixteenth centuries

•explores works of art in relation to ideas about sexuality and gender in the medieval and early modern period

•Focuses on the different social, political, and religious roles played by women and how this shaped their art patronage

•Examines works produced or commissioned by women such as Sofonisba Anguissola, Isabella d’Este, Margaret of Austria, and Elizabeth I


More posts to follow from the undergraduates, so watch this space!

Why I like this module… Inside the Gallery: Histories, Theories, and Practices of Museums and Galleries

If you’re heading into Year 12 or 13, now is the season of Open Days and all things Uni-related. As part of that season, we’ll be showcasing a few of our modules here on The Golovine to give you a sense of what they involve and what our students make of them. First up, Romy and Sophie give us their views on the second year module, Inside the Gallery: Histories, Theories, and Practices of Museums and Galleries.

Inside the Gallery’ was one of the most interesting modules that I took in my second year. The module looks at the role of museums and galleries and the practicalities of exhibiting art works. Over the course we visited various museums across Birmingham and had talks by individuals working within fields such as curating and restoration. The assessment of the module requires the group to create their own hypothetical exhibition, using the knowledge gained to plan out an exhibition in its entirety, from loan requests and installation procedures to budgeting and marketing the show.

Romy, Second Year, BA History of Art

Romy, Second Year, BA History of Art

I really enjoyed the active basis of the course that required me to think about art differently. As I am very interested in the possibilities of working with art, meeting those people who have incredibly exciting roles has given me insight into where I may take my future career.”


This second year module:
•draws on the expertise of our own gallery, the Barber Institute
•explores other collections in and around Birmingham
•offers an insight into museums’ curating, marketing, education and finance departments
•is assessed by a virtual exhibition


Barber Institute of Fine Arts

Barber Institute of Fine Arts









“I recently had a great opportunity to put the skills I learnt from taking ‘Inside the Gallery’ into practice when I worked with South African artist Cathy Layzellto develop and organise an exhibition of her work. After securing the venue, the exhibition had to be marketed, the artwork organised for display and priced. The exhibition was a huge success, with Cathy selling much of her work and it was an enjoyable day for all.

Sophie, finalist, JH History of Art and History

Sophie, finalist, JH History of Art and History

I am so grateful that I had the opportunity to take this course, which just shows the range of topics available to students of Art History at the University of Birmingham. Not only is there great diversity in the type of art that we study, but we also learn how to apply our knowledge in the modern day art world.”


To find out more about Inside the Gallery and other courses on offer, click here.

If you want to get a real feel for studying History of Art with us amongst the fantastic collections of the Barber Institute, come along to our History of Art Taster Day on 20th September – find out more here and check back for the full programme soon!

Calling all HoA Graduates…Barber internships are now available!

Barber logo


The Barber Institute is offering six museum internships over the coming year. The internships are designed to provide work experience for graduates with a degree in History of Art or a related subject, who are seeking a career in museums and galleries. Internships last twenty weeks and start in either September 2014 or February 2015. Interns work 21.5 hours per week and will be paid at a rate of £7.53 per hour.

To get an idea of what an internship can involve, read Sophie Rycroft’s post about her time working as a Collections in term.


The Barber Institute of Fine Arts

The Barber Institute of Fine Arts


1)        Collections Internships

 We are offering two internships working with our Collections team. Interns will gain experience in all aspects of curatorial work, including research, documentation and the planning, organisation and installation of exhibitions. They will also be given the opportunity to curate a small display of prints and drawings and to give gallery talks.

2)        Learning and Access Internships

 We are offering two internships working with our Learning and Access team. Interns will gain experience in all aspects of the planning, organisation and delivery of learning activities, which encourage the study of art and enable our visitors to enjoy, understand and reflect upon the Barber’s unique collection of paintings, prints, drawings, sculptures and decorative arts.

 3)        Communications and Marketing Internships

 We are offering two internships working with our Communications and Marketing team. Interns will gain experience in all aspects of the planning, organisation and delivery of targeted marketing, social media, media relations, public relations and other communications campaigns aimed at encouraging different sectors of the community to visit the Barber and participate in its events and activities.

How to Apply

Applicants should be able to demonstrate a strong interest in, or knowledge of, History of Art, preferably supported by a formal academic qualification. In addition, they should have excellent communication and computing skills and a commitment to working in museums and galleries.

For further particulars and an application form, please visit the University of Birmingham’s website The closing date for applications is Monday 9 June 2014. Interviews will be held in the week starting 23 June 2014.

The Barber Institute’s Internship Programme 2014/15 is sponsored by NADFAS (through the Patricia Fay Memorial Fund), the Chris Gait Endowment Fund and the Patrons of the Barber Institute.


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A Year on from Brum…2013 graduate Sapna Patel tells us about her internships and new job!

A year ago, life seemed so different: I remember this time last year I was stressing (like every other final year student) about our upcoming exams that were to take place in 3 days’ time. As well as cramming every quote, date, and title I could possibly fit into my brain about Visual Representations of the Body, 16th Century Venice, and Interiors and Interiority, there was also the worry about what I would be doing work-wise after exams were finished and university was officially over. I’m pretty sure I wasn’t the only graduate panicking over this, and after attempting to secure an internship during my final year, I finally decided to let go and just focus on my exams which were only going to happen once. However that worry about what I was going to do career-wise just wouldn’t go away and luckily, whilst on a quick revision break on Facebook (typical!) I saw a post on our History of Art page about an opportunity to work at Sotheby’s Institute of Art. After reading up on the role, I realised the deadline wasn’t till the end of May so I made a mental note to go back to this once my exams were done.

With exams finally over, and after having too much fun at Refreshers, I went back to the application. I wasn’t really expecting to hear back or get through to an interview but surprisingly received an email whilst on holiday asking if I could attend an interview that week. I returned from my holiday early and went along feeling very hopeful and so was ecstatic when I was offered an internship with the Careers Department. My first day was the next week!

I commuted from Birmingham initially until I moved back home and started the long trek of a commute from Lincolnshire. Besides the 5.30am starts, and the returns at 8.30pm, my three months in the summer were extremely glamorous and I thoroughly loved working for a company that trusted me to get involved in as much as possible! Working in the beautiful surroundings of Bloomsbury, I was always on the go, going to different places or working with different departments. My line manager, Christina, was very supportive and encouraging to work with and from my first day I was already placing orders for all sorts for upcoming corporate art events without her permission! My first day also involved going to Somerset House to plan last minute things for a talk that was occurring that very evening.

Sapna Sotheby's

Entrance to Sotheby’s Institute of Art, Bedford Square, London













I then soon found out that I would be representing Sotheby’s Institute at Masterpiece London 2013, a prestigious luxury arts fair set in the South Grounds of the Royal Hospital in Chelsea. Working for Masterpiece was certainly eventful. Running around London, I always had my hands full, from curating our stand, to networking with galleries and art dealers at the fair, and teaching and inspiring young school children about art and antiques, something that certainly tested my patience!

The Masterpiece Banner!

The Masterpiece Banner!










Networking with other galleries was my favourite aspect of working for Masterpiece. I loved seeing galleries dealing with the works of arts that I had specialised in during university and discovering new contemporary pieces that were unfamiliar to me. Having studied Books of Hours and illuminated manuscripts during my second year, I was delighted to see Les Enluminures at Masterpiece who displayed an array of manuscripts and miniatures from the Middle Ages and Renaissance. I was fortunate enough to handle a Book of Hours and was astonished at its excellent condition: the pigments and quality of the illuminated designs were still in such a good state.

Sapna MSS 2


Sapna MSS

…and more manuscripts!










Working as a Careers Intern, I assisted with graduate recruitment on a global basis, specialising in the arts and business market, a field of work I did not know much about initially. I was amazed to discover the numerous career paths a History of Art graduate could pursue from working in established galleries, and reputable auction houses, to working on a freelance basis and even working with finance and wealth management with a focus on art. It’s great to know all this is possible with a degree in History of Art – it just goes to show, as long you show your passion and dedication for a certain career, anything really is possible. Most recruiters will look at the skills you’ve acquired during your degree such as analysing texts and being able to put together a coherent argument through your essays. They’re also interested in initiative and innovative methods of researching that you employ for long pieces of work such as your dissertation.

I certainly learned a lot during my three-month internship, from being able to sit in the library reading and developing my knowledge about the History of Art, to attending networking events with employees from the major three auction houses (Sotheby’s, Christie’s and Bonham’s), and working with our office based in New York. I also learnt about parts of the world that are only just emerging in the contemporary art scene such as India (a country close to my own heart, ethnicity, religion and culture). I was really pleased to be able to network with Neha Jaiswal, a contemporary Indian art curator whose work combines traditional Indian art with a contemporary twist. And of course there were the gorgeous summery walks from Kings Cross Station and the buttery croissants I consumed every morning…! Through this placement, I was able to begin my dream of working in London and I can definitely say this internship gave me the right start I needed in building my career.

My daily walk to work...

My daily walk to work…

I was in fact offered the opportunity to extend my internship for another three months at Sotheby’s but I was fortunate enough to gain a six-week position as a Gallery Invigilator and Exhibition Assistant at Richard Nagy Ltd on Old Bond Street. This job really appealed to me as the works Richard deals with in his private gallery cover those areas of art I had specialised in at university, especially on Camilla’s second year module on Fin-de-Siècle Vienna. I owe so much to Camilla’s fantastic course and being able to draw on everything I learnt from the module in my interview with Richard and his fellow Gallery Director, Nina. Working in Mayfair was another great experience: walking through the Burlington Arcade every day and past all the big labels is every girl’s dream! The gallery itself is small and intimate and specialises in the works of Egon Schiele and Gustav Klimt. The gallery also handles German Expressionism: Die Bruecke, and in particular Die Neue Sachlichkeit, as well as more recent British artists of a related sensibility like Spencer, Bacon and Freud. In addition, Symbolist artists such as Redon, Ensor and Kubin, are also frequently available. The gallery also handles many artists in the modernist canon. The gallery hosts an annual exhibition, such as the 2013 one on Georg Grosz entitled ‘George Grosz. Berlin. Prostitutes, Politicians, Profiteers’ I was very excited to be working with works of art that I’d learnt and studied closely at university.

Grosz Illustrious

Georg Grosz, Illustrious Society (1927)

Grosz Inflation

Georg Grosz, Inflation (1928)

Grosz Barracks

Georg Grosz, In Front of the Barracks (1918)

My role at Richard Nagy Ltd was highly varied so as well as working on the gallery floor as an Invigilator, I was also involved with working in the gallery’s office updating and maintaining the company’s client database, handling client money, archiving works and preparing sales reports for any paintings that were to be exhibited and sold at upcoming art fairs. Whilst working at the gallery, I was fortunate enough to participate in the  PAD Art and Design Fair on Berkeley Square during London Art Week where the gallery had its own stand selling an array of its paintings. I was able to work at PAD both independently and with the directors in organising client appointments for those interested in making a sale.

Schiele 1

Drawing by Egon Schiele exhibited at PAD

Schiele 2

Drawing by Gustav Klimt exhibited at PAD

Lastly, I was responsible for selling exhibition catalogues in order to raise as much money possible for a charity the company strongly support, Global Witness, and was able to raise £7,070. I was genuinely sad to be leaving this post but am pleased to say I still keep in touch with the gallery and would highly recommend people visit it. The gallery has rare drawings and paintings by numerous artists and I found it really interesting to see their works in this setting.

PAD Art and Design Fair on Berkeley Square

PAD Art and Design Fair on Berkeley Square

Since leaving Richard Nagy Ltd, I have been busy working as a freelance artist and am excited to be appearing in a local art event and hopefully will be able to sell some of my own works! I am also currently training for Race for Life and will be running the 10K which I am both terrified and excited about!

I’m ending this blog post with a bit of a twist since I have just secured myself a place on a graduate scheme ago working in a field very different to the those I have just described. I am excited to be starting my post at Corporate Executive Board as a Graduate Associate working in Key Strategic Accounts. History of Art really does open up many doors! In fact, my interviewers both studied History and Modern History at university so I feel really reassured about starting this post even though I didn’t do a numerical degree. I look forward to building and shaping my career within CEB in Finance and Accounts, where my role will focus on working with internal stakeholders across the globe, working with the company’s grand client portfolio, including large pharmaceutical companies, and finalising contracts with them. Indeed it is the complete opposite to what most History of Art graduates are thought to pursue but it goes to show that the skills we learnt during our studies mean it really is possible to go into numerous areas with this valuable degree. For students who are unsure of what career field to go into, I’d advise you to look into all sorts of options and see what works out for you. I’d recommend applying for internships to help build your work experience and CV and not to be afraid of pursuing your instincts or changing tack: believe you can excel and any career opportunities out there are yours!


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