Arts Council of the African Studies Association
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Thank you for voting. The current ACASA bylaws are now available for viewing.
Please reach out to Caroline Bastian Retcher at bastian@acasaonline.org if you have any questions or issues.
The Center for Advanced Study in the Visual Arts at the National Gallery of Art in Washington, DC, is accepting applications for visiting senior fellowships during the upcoming fall and winter. These two-month appointments support research in the visual arts across all places and time periods from scholars in art and architectural history as well as those in related disciplines.
A complete application includes a research proposal, biographical information, a list of publications, two letters of reference, and a writing sample.
For more information, please visit the Center’s webpage: https://www.nga.gov/research/casva/fellowships/visiting-senior-fellowships.html
We invite proposals for individual papers for open panels and roundtables at this time (January 19, 2024- March 1, 2024). Please see the list of open panels and roundtables at the bottom of this page. The full list of accepted panel proposals can be viewed here.
Recently the field of African arts has shifted from object-centered approaches to ones that are human-, community-, and artist-centered. Who is speaking? How can we listen to each other and invite more diverse and globally-entangled voices? Some strategies for human-centered approaches include collaboration, wellness, healing, pluralities of knowledge, the sustaining and building of relationships, fostering new generations, thinking generously and inclusively and active listening in lieu of, or in addition to, object-centered approaches. We welcome contributions on themes such as:
Regular panels will be 120 minutes long with either a) four 20-minute papers and a discussant or b) five 20-minute papers. 90-minute roundtables or alternative discussion-based formats (such as lightning talks or poster presentations) are welcome–creativity encouraged.
Participants may only present one paper but may serve as a discussant on another panel or as a presenter on a roundtable.
Individual paper proposals must include the following:
The submission deadline for paper proposals is March 1, 2024.
Please submit via the submission portal here
Proposals may be submitted by anyone, but an active ACASA membership is required to take part in the symposium. Visit https://www.acasaonline.org/join-acasa/ to find information on ACASA membership and to join.
For any questions or concerns, please email Caroline Bastian Retcher, ACASA Admin, at bastian@acasaonline.org.
Open Panels & Roundtables:
Decolonization of African Art in Museums, Covid-19, and Curating Art in Digital Space
Towards a dynamic and distributed future: interdisciplinary methods of engaging with African Art & Cultural Heritage Materials
Reimagining Creative Ways of Speaking Truth to Power in a Time of Heightened Repression
Knowledge Creation and Co-Curation in Museums and Public Spaces: Contestations and Advances
Public Art, African Histories: Asserting and Subverting Colonial Power
Photographic Transversals: Mobility, Intermediality, and Temporality in African Photography
Sea Matters: New Art Histories from Africa’s Islands and Archipelagos
“The Art that Guides Our Students: Southern University at New Orleans and the Traditional African Art Collections”
Towards a dynamic and distributed future: interdisciplinary methods of engaging with African Art & Cultural Heritage Materials
New Directions in Provenance Research
“Beautiful Space Others Make” On Care, Justice, & Creative Imagination
RE-ENGAGING THE GEARS OF CONSERVATION IN THE TRANSMISSION OF CULTURE IN MODERN BENIN
Jamaican Textile and the Stories of Decolonization
Audacious Art Histories: Intimacies and Interventions
Around the Object: New Directions in Museum and Curatorial Education in Africa
Ìyá: Our Mothers Who Art In Exile
Decolonization of African Art in Museums, Covid-19, and Curating Art in Digital Space
Online Visual Imaginations of the Nation
(De)Constructing Authenticity: New Methods and Case Studies
Periodizing the 1990s
THE CHALLENGES OF VISUAL ARTS ENTERPRISE FOR SUSTAINABLE DEVELOPMENT IN NIGERIA
From Belief to Heritage: Rethinking the museum.
Women & Non-Binary South African Artists: Revisioning Histories
African continuities and change in the Caribbean, through contemporary Caribbean art
Traditions and practices of profanation at Western Museums
Raising Voices: Climate Change and Environmental Degradation
Museums in Africa and their Search for Relevance as Source and Agent of Social Wellness
Fight of the Century: The Rumble in the Jungle 50 years on
Queer Hybrids in Contemporary African Art
“Collaborating Across Continents: Developing a Contemporary Masquerade Exhibition for North American and African Audiences”
For what is Just: Social Practice Art, Solidarity and Civic Imagination in Africa
Interventions in the Colonial Photographic Archive
Nigerian Contemporary Ceramic in Retrospective View
Power: remaking selves, archives, environments
‘women’s work as creative practice’ – 4 contemporary South African artist-women/artist-mothers
The Promise and the Peril of Placing African artists in Global Narratives
#JustAndEquitableNow: Reimagining Arts and Humanities in Our Universities
Gender and Artistic Production from the Maghrib
OBJECTS REFUSE TO BE CANCELLED (#babybathwater)
The Modern in an Expanded Field?
No Comment! Explorations along the borderline of seeing, talking, and thought.
Unveiling African Arts: Reclaiming Narratives, Fostering Dialogue, and Embracing Healing
Photography in the First-Person: The Interview as Source
Critical Inquiry in Design, Media and Material Culture of Sub-Saharan Africa
Collaboration, Collections, and Restitution Best Practices for North American Museums Holding African Objects
Questions of Objecthood and Value
Ghana 1957: Collaborative Curation
The creation and development of museums in Senegal: origin, evolution and perspectives.
Restitutions and feedback
What is a Map? A Question Investigated through African and African Diasporic Arts and Architecture
Local museums and international collaborations: The “other side” of the story
New Dimensions of Contemporary Art Studies and Practice in Nigeria and Ghana Since 2020
Artist-Centered Approaches to African Restitution
EXPLORING VISUAL CULTURE: PLURALIZING KNOWLEDGES, EXPERTISE, AND THE PRODUCTION OF KNOWLEDGES AND EXPERTISE
Art-Making as Rituals and Rites: Exploring the Transformative Power of Creative Expression
Gender and Human Centeredness in Southern African art
Spiritual Repair: Post-Secular Black Atlantic Arts
Past/Predecessors: Modern and Contemporary African Art Between Generations
Making and Representing West African Textiles and Fashions
A Ghanaian-United States Nexus in Art Pedagogy and Practice
Reimagining Public Art: Community Engagement, Sustainability, and Urban Transformation
African Art: Traditions, Transitions and Decolonisation
VISUAL LITERACY AGAINST OPPRESSION
Digitalization, Youth Economy, and the Future of Popular Arts in Africa
Pivoting with African Art: Alt-Academic Careers Roundtable
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For the first month of registration (January 5 – February 5), we are offering a discounted bundle package of $15.
This bundle is for active ACASA members only.
ACASA Triennial Symposium Registration is outlined below. Please note that each Triennial event requires separate registration (unless purchasing the bundle package). These rates are for all Triennial attendees, both in-person and virtual. Visit our website for more information about the Triennial.
Please Note: Membership is not required for attendee registration, however the cost of membership + registration is lower than the cost of non-member registration to all Triennial events. All presenters must be ACASA members. We encourage everyone to become an ACASA member. Join today!
Member: Non-Member:
Conference: $200 / $250
Awards Ceremony & Dinner: $60 / $80
Museum Day: $40 / $60
Member: Non-Member:
Conference: $225 / $275
Awards Ceremony & Dinner: $60 / $80
Museum Day: $40 / $60
Visit: https://acasatriennial2024.sched.com
Create a Sched account by email, Google, or Facebook.
Select the events you would like to attend.
Purchase through the secure link and receive email confirmation via Sched.
Follow the steps listed in the confirmation email to create a Sched profile.
Participants in ACASA’s Triennial are encouraged to stay at the recommended hotels listed below to have the greatest flexibility and engagement with other attendees, but attendees are welcome to stay in whatever accommodations suit them best.
Please, contact Caroline Bastian, ACASA Project Manager, for any questions or comments at bastian@acasaonline.org
This webinar is exclusive to ACASA members and will be held virtually over Zoom. Use the button at the bottom of this email to join or renew your membership. You must log in to your member account to register.
Highlighting provenance—the ownership history of a work of art or other object—has been growing in museums as part of important conversations about collecting and exhibiting African cultural heritage. But how much do museum visitors understand about provenance, and what is their interest in it? Do museums present provenance in a way that is engaging and easy to understand? The Department of Research and Evaluation of the Cleveland Museum of Art has undertaken audience evaluations in 2021 and 2023 that seek to answer these questions. These digital and in-person evaluation projects center on the museum’s African arts gallery, and a September 2020 reinstallation of eight works from the Benin Kingdom that include full provenance on their gallery labels in addition to on the museum’s website. As one of the few museums with an R&E department, this research represents a unique perspective on visitor viewpoints about provenance and an important tool for enhancing communication.
In this webinar, CMA’s Hannah Ridenour LaFrance (Research Manager, Department of Research & Evaluation) and Courage Kusena (Past Undergraduate Intern, Department of Research and Evaluation) will discuss the goals, methods, and findings of these evaluation projects. Facilitating the conversation, Kristen Windmuller-Luna (Curator of African Arts) will discuss the history of sharing provenance information at CMA, and consider how insight gained from evaluations of museum visitors’ engagement with and understanding of provenance can be implemented in future exhibitions.
This webinar is exclusive to ACASA members and will be held virtually over Zoom. Use the button at the bottom of this email to join or renew your membership.
The submission window is now open for the 2024 Awards for Curatorial Excellence. Submissions must be received by February 15, 2024. The awards will be presented at the 19th ACASA Triennial, to be held in Chicago from August 7-11, 2024.
The Awards for Curatorial Excellence recognize the important contributions to the dissemination and understanding of African and African Diaspora Arts made through exhibitions. Exhibitions related to permanent collections, loan shows, commissioned works or community interventions organized by museums, galleries, cultural centers, and exhibition spaces of all sorts are eligible. Up to two awards for curatorial excellence will be given. Runners up may also be recognized.
Eligibility
The exhibition should have opened between Sept. 1, 2019 and Sept. 1, 2023.
Exhibition eligibility: Both nominator and nominee(s)—if different–must be ACASA members in good standing. Join ACASA
Incomplete or late submissions will not be considered.
Submission Process and Materials
Eligible exhibitions should be uploaded by the nominator to this form with the submission materials listed below. All submission materials must be received by February 15, 2024.
All submissions should include the following materials:
Assessment Criteria
For consideration for this award, the awards committee will consider exhibitions that:
Please contact Caroline Bastian, ACASA Project Manager, for any questions or comments at bastian@acasaonline.org.
The ACASA board is pleased to announce that our 19th Triennial Symposium of African Art will take place in Chicago, Illinois, USA from August 7 through 11, 2024.
We invite proposals for panels and roundtables at this time (August 1- December 1, 2023). A call for individual papers for open panels and participation in open roundtables will follow on January 5, 2024.
Recently the field of African arts has shifted from object-centered approaches to ones that are human-, community-, and artist-centered. Who is speaking? How can we listen to each other and invite more diverse and globally-entangled voices? Some strategies for human-centered approaches include collaboration, wellness, healing, pluralities of knowledge, the sustaining and building of relationships, fostering new generations, thinking generously and inclusively and active listening in lieu of, or in addition to, object-centered approaches. We particularly invite panels that consider negotiating plurality of perspective and positionality, and diversifying forms of expertise and knowledge production.
This list is meant to be suggestive and not exhaustive, and submissions on any topic beyond the core theme are also welcome. We also welcome proposals for alternative formats – please contact Paul Basu or Amanda M. Maples if you would like to discuss.
Regular panels will be 120 minutes long with either a) four 20-minute papers and a discussant or b) five 20-minute papers. 90-minute roundtables or alternative discussion-based formats (such as lightning talks or poster presentations) are welcome–creativity encouraged.
Participants may only present one paper but may serve as a discussant on another panel or as a presenter on a roundtable.
Proposals for panels and roundtables may be open with a suggested topic or fully constituted with all proposed participants identified. Participation may be in person, virtual, or a combination of these two.
Panel and roundtable proposals must include the following:
The submission deadline for panel and roundtable proposals is December 1, 2023.
Please submit to https://www.acasaonline.org/2023-triennial-paper-proposal-submission/
Panel, roundtable, and paper proposals may be submitted by anyone, but an active ACASA membership is required to take part in the symposium. Visit https://www.acasaonline.org/join-acasa/ to find information on ACASA membership and to join.
Further deadlines:
Triennial Programming Committee:
Paul Basu, University of Oxford (paul.basu@anthro.ox.ac.uk)
Amanda M. Maples, New Orleans Museum of Art (amaples@noma.org)
George Agbo, University of Edinburgh (gagbo@exseed.ed.ac.uk)
Juliana Ribeiro da Silva Bevilacqua, Queen’s University (jrds@queensu.ca)
Zainabu Jallo, University of Basel (zainabu.jallo@unibas.ch)
Mathew Oyedele, University of Benin (oyemart@gmail.com)
Alexandra M. Thomas, Yale University (alexandra.m.thomas@yale.edu)
Tuesday, August 6 – Registration Desk opens.
Wednesday, August 7–Saturday, August 10 – Panels held at the DePaul University Loop Student Center.
Thursday, August 8 – Keynote lecture given at the Art Institute of Chicago.
Friday, August 9 – Dinner & Awards Ceremony followed by the famous ACASA Dance Party at DePaul University’s Lincoln Park Student Center.
Sunday, August 11 – Museum Day at the Art Institute of Chicago.
Stay tuned for more information and calls for papers!
The Getty Research Institute is pleased to announce themes for residential grants and fellowships for pre-docs, post-docs, and scholars at the Getty Center and Villa for the 2024/25 academic year.
Applications will open on July 1, 2023. Applications are due by October 2, 2023.
AFRICAN AMERICAN ART HISTORY INITIATIVE GRANTS
The African American Art History Initiative (AAAHI) will support two fellows to generate new knowledge in the expanding field of African American art history. As part of the larger scholar year cohort, AAAHI Fellows have opportunities to present their research and receive feedback from an interdisciplinary group of peers. While proposals do not have to address the concurrent annual theme, they may highlight any salient intersections with it.
This residential program provides financial support and housing to scholars who are expanding critical inquiry of African American art and its frameworks. Projects that propose engagement with Getty’s growing collections of archival and primary source material related to African American art history—particularly post-World War II—are welcome. However, relevance to Getty holdings is not a project requirement. We invite applications from scholars who focus on African American art and visual culture in all time periods and media and in a broad range of theoretical and methodological traditions. Applicants should indicate how their project would align with AAAHI’s aim to make African American art history more visible to the public and accessible to the scholarly community worldwide.
EXTINCTION GRANTS
In this moment of extreme environmental decay and monumental epidemic loss, the Getty Scholars Program invites applications on the pressing topic of extinction and its bearing on the visual arts and cultural heritage. Scholars are asked to contemplate how representational practices are deployed to cope with the precarious survival of plants, animals, and humans; the ever-present specter of species-level extinction and resource exhaustion; and, at the most extreme pole, the brutality of mass atrocity. On another level, atrophy, decay, and obsolescence constitute the temporal dimensions of certain artistic practices, especially as creative approaches, technologies, media, formats, and ideals become outmoded or superseded. The finality of disappearance may also portend a certain amount of hope for rebirth, innovation, or recovery. We invite proposals on these topics from art historians and those from related to disciplines.
Please find the full call for applications and theme text on the Scholars Program webpage: gty.art/scholars
The Royal Ontario Museum (ROM) is Canada’s celebrated international museum and houses important collections of art, culture and nature. ROM is the largest and most attended museum in Canada, attracting more than 1.3 million visitors per year. It has a membership of over 24,000 households and 66,700 individual members and an annual budget of $80 million CAD. ROM is a world leader in communicating its research and collections to the public. A globally recognized field research institute, home to more than 13 million artworks, cultural objects and natural history specimens, ROM features 40 galleries and exhibition spaces in its original heritage building and its 2007 Michael Lee-Chin Crystal designed by Studio Daniel Libeskind.
ROM’s vision is to become a distinctly 21st-century museum, one that will be globally known for expanding the boundaries of knowledge, innovation in presenting that knowledge, and public relevance within the intersecting worlds of art, culture, and nature. To realize this vision, ROM has embarked on a new strategic direction that builds on its strengths and capabilities while evolving in step with a rapidly changing world. The Museum is becoming an ever more outward-facing institution, focused on playing a central role in community and cultural life, while increasing impact – artistic, cultural, and scientific – nationally and internationally.
Situated in the most diverse major city in the world, within a province and country known for pluralism, openness and global perspectives, ROM is well positioned for the future and for an even greater role on the world stage. By leveraging ROM’s strengths and capabilities, and applying them in fresh and far-reaching ways, by investing to create greater engagement through inclusion, transdisciplinary thinking, digital practices and innovation, ROM is charting a new and bold way forward as it pursues its goal to become one of the world’s foremost museums. Learn more about ROM’s Strategic Direction.
ROM seeks a thoughtful, strategic curator, gifted at communications and alliances, with a strong background in African contemporary, historic and diasporic art for its Curator of Global Africa position. The successful candidate will lead programming and presentation of ROM’s Global Africa collection in galleries, exhibitions, and other initiatives developed through collaboration with local communities, artists and scholars and with a commitment to using community-engaged curatorial models. This Curator will develop and implement a strategy to reinterpret the existing Global Africa collection that ROM has built in the past and to expand its holdings, especially in representation of contemporary Global Africa. The curator will expand the reach of ROM scholarship and museum initiatives through publications, lectures, and academic work. In the context of ROM’s strategic direction toward a more global, transdisciplinary storytelling model, the Global Africa curator will champion cross-cultural and transdisciplinary perspectives that highlight the relevance of ROM’s collections of art, culture, and nature in contemporary societies.
The Curator of Global Africa is responsible for the development and care of ROM’s Global Africa collection, which counts over 12,000 objects from the African continent and beyond. This is the largest collection of African art in Canada and one that offers endless opportunities for engagement and collaboration with the diverse African and African diaspora communities in the Greater Toronto Area as well as researchers and students. This position will also be responsible for expanding the research on the provenance of ROM’s historical holdings, strategic deaccessioning, repatriation, and expansion of the collection in keeping with contemporary museum practice and thought in the field. In a moment when the push for repatriation recurrently questions the historical foundation of the encyclopedic museum, gallery development, exhibitions and collecting strategies must connect the past with the present in an ethically grounded, visually effective, community-minded and emotionally engaging way.
ROM welcomes candidates who are passionate about the study and interpretation of the arts of Global Africa, and who are invested in new ways of thinking about and presenting arts of Africa and its diaspora communities in an encyclopedic museum. Applicants with research specializing in historical and contemporary aspects of African art history, visual studies or material culture are encouraged to apply.
The successful candidate will work closely with local Black communities, including both Anglophone and Francophone diaspora communities, global African partners, donors, scholars, and diverse ROM audiences. Critically, the successful candidate will take a leadership role in reinterpreting ROM’s art and heritage from Global Africa and developing a new vision for both permanent and temporary displays. The curator will be a specialist within the field but also interested in broad issues and questions related to Indigenous art and cultures that have relevance in Canada and the contemporary world. Curatorial knowledge should extend widely regarding historical periods and media.
ROM is open to considering a range of candidates from an Associate Curator level to Senior Curator, consistent with the candidate’s experience and the strategic goals of the Museum. The position reports to the Co-Chief Curator, Art and Culture, and the Curator will be a member of the ROM Curatorial Union (ROMCA).
In collaboration with fundraising staff, actively cultivate support for exhibitions, galleries, programs, symposia, acquisitions, research grants, and fellowships through association with cultural and professional organizations, foundations, and patrons at the local, national and international level.
To apply in confidence, email:
1) letter expressing interest in this particular position, giving brief examples of past exhibition, programs and collections experience and proposed research areas and projects;
2) curriculum vitae;
3) names of three references with contact information.
Submit application by May 12, 2023, to retained search firm: Connie Rosemont, Museum Search & Reference, SearchandRef@museum-search.com. All qualified candidates are encouraged to apply for this international search. However, Canadian citizens and permanent residents will be given priority.
Nominations are welcome.
Short-listed candidates subsequently will be asked to provide publication samples.
ROM is committed to fair and accessible employment practices. ROM considers equity, diversity, and inclusivity to be foundational to their institutional success. They seek to foster a workplace that reflects the full breadth of the communities they serve and welcomes applications from women, racialized persons, Indigenous/Aboriginal People of North America, LGBTQ2S+, and people with disabilities. Upon request, suitable accommodations are available under the Accessibility for Ontarians with Disability Act (AODA) to applicants invited to an interview.
Toronto is the fourth-largest city in North America. It is the country’s financial and business capital, and it welcomes 40 million tourists a year. It supports a lively arts-and-culture scene that includes museums, galleries, performing arts organizations, festivals (including the pre-eminent Toronto International Film Festival), a diverse restaurant scene and many working artists. It is home to 5 universities and 4 colleges. Toronto’s housing and job market, economic development and population growth have been expanding rapidly over the past decade, and it is recognized as one of the most diverse and multi-cultural cities in the world with 47 percent of the population self-reporting as “part of a visible minority.”
One of the most livable cities in the world, Toronto is ranked as the safest metropolitan area in North America. It has many excellent public schools and a comprehensive public transportation system that includes buses, metros, trolleys, and a public bike program. The city has trendy and up-and-coming neighborhoods while at the same time, there are quiet neighborhoods providing an escape beyond the bustle of downtown. Lake Ontario makes up the southern boundary of the city and provides many kilometers of beautiful, accessible waterfront. The city has many parks, and there are also many recreational opportunities near the city for canoeing, hiking, and outdoor beauty. Toronto is surrounded by Ontario’s Greenbelt, a 2-million-acre area of green space, farmland, forests, wetlands and watersheds that provide multiple farmers’ markets and local food options within easy reach. Niagara Falls is less than 2 hours away and sits adjacent to southern Ontario’s wine-growing region.
Organizational Unit Overview
The School of Art and Design provides a multidisciplinary approach to art and design that creates opportunities for students to develop creative and critical thinking abilities by thinking through making. The School enrols more than 550 students in twelve areas across four degrees. The School of Art and Design is the largest BFA Art program in the University of North Carolina system and has been continuously accredited by NASAD since 1962. The School has 40 full-time faculty and is located in the Jenkins Fine Arts Center, a 142,000-square foot facility with specialized equipment, tools, and technology for the School’s disciplines—animation/interactive design, art education, art history, film and video production, ceramics, glass, graphic design, illustration, metal design, painting, photography, printmaking, sculpture, textile design. From computer labs, a digital loom, CNC routers, and laser cutters to a wood shop, foundry, letterpress shop, black and white dark room and beyond, the School’s facilities are comprehensive and available to faculty and students to think, make, and work across the School’s disciplines.
The School takes responsibility for actions and the future we build, and acknowledges the diversity of our community as we work toward a thriving, supportive community that values, acknowledges, and respects our differences and creates opportunities for everyone. To achieve the mission of social justice, we commit to holding ourselves and our leadership accountable for creating an inclusive, diverse community that provides opportunities for underrepresented community members; presenting artists from underrepresented communities in our teaching practice, providing context for the traditional/historical canon, and teaching the work of contemporary artists working in and outside the museum/gallery model, educating ourselves on race and social justice issues to decolonize classroom environments and actively foster compassion, understanding, and appreciation for each other’s differences; increasing the number of invited guest lecturers and exhibitions from more diverse communities; supporting the community (students, faculty, staff, guests), particularly regarding race, socio-economic class, and intergenerational poverty; recruiting students and hiring faculty from more diverse backgrounds to amplify underrepresented voices, working collaboratively toward shared goals of inclusivity and justice; identifying, locating, critiquing, and challenging factors that have contributed to and perpetuated a disconnect between the predominately white leadership (administration, faculty, and staff) and the more diverse community we serve; and developing a culture in which identifying mistakes is encouraged and welcomed, as well as taking responsibility for mistakes and committing to respectful action in the future.
Job Duties
The School of Art and Design at East Carolina University seeks nine-month, tenure-track Assistant Professor in the area of Animation/Interactive Design or Graphic Design. The position is defined broadly within the animation/interactive design or graphic design area and will also teach first year and shared experience courses. This position will teach 3 three-credit courses per semester. This position will continue their art and/or design research, creative activity and/or scholarship; mentor students; engage with other faculty regularly; participate in departmental activities, such as recruiting; engage in opportunities for curricular and course development that reflect their expertise and professional experience; and participate in service to the School, College, University and community; and other activities as appropriate.
The animation/interactive design program, a concentration within the BFA Art, prepares students for a variety of professional outcomes ranging from interactive design, animation, to character and game design. The graphic design program, another concentration within the BFA Art, prepares students for a variety of professional outcomes ranging from print/publication design, branding, to motion and UI/UX.
Contingent upon available funding.
Minimum Education/Experience
Minimum Qualification (candidates must have):
Preferred Experience, Skills, Training/Education
Special Instructions to Applicant
To apply, candidates must submit the following materials:
Please be aware that if selected as a candidate of choice, an automatic e-mail will be sent to the individuals entered by the applicant in the References section the PeopleAdmin applicant tracking system. Letters of reference submitted via the PeopleAdmin applicant tracking system will be verified and considered towards meeting this requirement.
Additional Instructions to Applicant
In order to be considered for this position, applicants must complete a candidate profile online via the PeopleAdmin system and submit any requested documents. Additionally, applicants that possess the preferred education and experience must also possess the minimum education/experience, if applicable.
Applications will be considered until position is filled. Please submit an online ECU application for vacancy #940735 to ECU Human Resources at http://jobs.ecu.edu.
Eligibility for Employment
Final candidates are subject to criminal & sex offender background checks. Some vacancies also require credit or motor vehicle checks. ECU participates in E-Verify. Federal law requires all employers to verify the identity and employment eligibility of all persons hired to work in the United States.
East Carolina University is an Equal Opportunity/Affirmative Action Employer.
Visit this job posting at https://ecu.peopleadmin.com/postings/57186
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