Student Spotlight: Anne-Claire Morel

Photo of Anne-Claire MorelAnne-Claire Morel is a History of Art graduate (2014) from the University of Cambridge, UK. She obtained a B.A. (Hons) and did her thesis on Marina Abramovic’s presence and image in post-1970s performance art. In order to further develop her interest for the arts, Anne-Claire decided to carry out internships in various areas of the art world. She gained valuable insights into the art market when interning at Sotheby’s London in the Valuation Department (2012) and Gagosian Gallery, New York (2013). Following these two experiences, she assisted a leading New York-based art adviser during the Summer of 2015.

Anne-Claire has also kept a focus on art and artists at the very heart of her internships. In 2011 and 2013, she interned at Residency Unlimited, a Brooklyn based, non-profit artist residency. She also turned to museums and joined MoMA’s curatorial internship program (Media and Performance Art) in the Spring of 2015. She is currently interning at the Solomon R. Guggenheim Museum in the Corporate Development department.

Anne-Claire grew up between Paris, Barcelona, London, and New York, and has had the opportunity to interact with a wide range of people. Her passion for art and the art world is fed by the many stories and cultures she gathered throughout the years. At the moment, she is exploring the opportunities and limits of branding strategies used to shape the image of historical private collections.

What attracted you to the Arts Administration Program at Teachers College, Columbia University? I was drawn to the program because of ARAD’s intrinsically diverse nature. Upon finishing my undergraduate degree, I had a strong background in history of art and critical theory, yet no understanding of the art world per se. ARAD has allowed me to explore new topics such as advertising, branding, and marketing, while also encouraged me to nurture and further topics such as philosophy. Should I wish to take a class about international conflicts and the role of culture tomorrow, I could too! ARAD’s strength lies in its diversity, and it challenges your own previous perceptions.

How are your studies helping to advance your career goals? The link between studies and career goals was not immediate for me. I came to the program straight out of undergrad and had never held a permanent position. It took a few months, a fair amount of discussions, and three internships for me to realize how I could relate career and studies. I realized that advertising and branding, along with corporate development and history of art, could be combined for the best and be used as a powerful strategy by art world entities.

Describe student life as a member of the ARAD community. The ARAD community is a support system. A group of wonderful, bright, and ambitious people that help each other out, in any possible way. I feel very confident about the future, of the arts and mine, thanks to the people I met in this program.

Fall Internship Symposium Success!

ARAD students are definitely hard-working and passionate about their interests here at TC! In addition to their coursework, students take part in at least one internship during their time in the program.

This last fall, students in registered internships participated in a Symposium with a formal presentation of the internship experience. This semester-long, 320-hour commitment is set at an organization the student would like, in the visual or performing arts, or even other areas within the non-profit and for-profit sectors.The Symposium served as a platform for students to synthesize their internship engagements into a cohesive demonstration of their individual education objectives, providing a greater understanding of how the internship program enriches classroom academics and aids in professional development. Students, faculty, staff, and previous and potential internship supervisors attended and enjoyed the wonderful presentations.

Stay tuned for information about our upcoming Spring Symposium!

ARAD Extraordinaire: Juliana Driever

By Alyssa Foster

Current ARAD student, A&H Staff Writer


Adjunct faculty member for The City University of New York, writer, curator, and alumna of Columbia University’s Department of Art History and Archaeology, Juliana Driever has joined the staff of TC this semester as the new Internship Coordinator for the Arts Administration (ARAD) program. Most departments at TC require their students to gain experience by teaching in schools throughout the city. In comparison, ARAD students are required to spend at least one semester working within an arts organization of their choosing. Whether pursuing a development position with a philharmonic society or a marketing job at a museum, Juliana’s role is to guide the ARAD students in finding educational internships that will mutually benefit both their needs and those of the organization. Juliana’s rich experience working in commercial and nonprofit art sectors since graduating from Columbia make her an ideal counsellor for aspiring arts administrators. Especially as she continues to curate exhibitions to extend her research and passion.

Last Fall Juliana curated the “About, With & For” exhibition at the Boston Center for the Arts (BCA). The exhibition held in the Mills Gallery was a highly inclusive event for the artists and visitors, and focused on the theme of social engagement by featuring participatory art: art with a practical, sometimes utilitarian purpose. Much more than a standard gallery viewing, the exhibition was accompanied by a series of performances that included the contributions of musicians, visual artists, puppeteers, builders and fixers.

This Mills Gallery exhibition tried Howard Becker’s theories on separating art from craft, while inciting a reversal of Boston’s cultural progression as outlined by Paul DiMaggio. But these tenets of arts administration were indirectly challenged to the betterment of Boston’s once highly elite Brahmin society. Juliana emphasizes that she looks beyond binaries such as the insider/outsider, or high/low-brow art, to design exhibitions that are expansive. “It’s true,” she states, “that some of the works in the exhibition might not fit the traditional ways of thinking about high-toned ‘art,’ though common everyday objects and imagery have been making their way into canonical, western art history for decades.” While not intended to challenge the community’s ideas about what should or even does constitute art, undertones alluding to the current elasticity of how art is defined echo throughout the gallery.

When asked about her creative inspiration over the two years of preparation for the BCA’s “About, With & For”, Juliana mentions that “the process of designing the programming grew out of the works themselves.” Complementary events held over the course of the exhibition, such as “Fixing Sessions with the Fixers Collective,” and “Singing Pictures with Clare Dolan” were scheduled as a means to more fully bring components of the collaborative displays to life. Encouraging community participation and collective interaction, the exhibition was successful in nurturing artistic engagement in ways that many organizations strive for yet fall short of accomplishing. Juliana firmly believes that “the job of artists, curators, and any cultural producer is to hold a mirror up to the public their work engages.” She was very pleased that the exhibition succeeded in being a true reflection of the Boston community.

As an arts administrator, Juliana describes herself as hopping “from project to project,” which can prevent anyone from being “really engrained in the cultures of the organizations that you work with.” Some administrators aspire to bond with and dedicate themselves to the mission of a single organization, whether a start-up that exemplifies their vision or an established multi-disciplinary behemoth. But getting a taste of multiple artistic organizations can enrich the professional perspective of all administrators.


– More information about Juliana’s “About, With & For” exhibition can be found in the archives of the BCA.

The Internship Experience in Arts Administration

By Alyssa Foster

Current ARAD Student, Arts & Humanities Writer


For Arts Administration (ARAD) students at Teachers College, participating in an internship of their choosing is a key component of the program. This experience goes beyond mere participation for most students as they engage in and truly enjoy their intern positions. Working in tandem with directors of development, directors of marketing, gallery curators and more, many students find that these practical settings compliment their classroom lessons.

“I entered the ARAD program with a significant amount of internship experience,” remarks Nicole Saint, a second year in the program. “For this reason I had only intended to participate in one internship, but I strayed from the plan (as usual), and I am glad. Each internship has come with a new set of experiences and contacts, and has given me a deeper understanding of the field.  I am currently on my third.”

“I personally feel professional experience is key to getting a holistic understanding of the industry,” says Pearl Kermani, also a second year in the program. “You can only learn so much in a classroom or in books. To truly learn you need to be in the thick of it. My internship experience had a very positive influence on my time in the program.”

The internship requirement was once handled by a second year student of ARAD before the position of Internship Coordinator was formally created. “I’ve been working towards ways to make the internship program run more efficiently,” says Juliana Driever, the current Internship Coordinator. Juliana keeps all ARAD students apprised of current internships via a weekly email and follows their feedback in order to create career-oriented programs in conjunction with the Office of Career Services. Juliana is also forging new relationships with arts organizations that could offer beneficial internship positions in years to come.

“I am working towards increasing the number of relationships that ARAD has with cultural institutions by reaching out individually to the administrators (in some cases, alumni) who oversee these programs,” she describes. “I want the relationships that the program develops to be much more strategic and sustainable than a simple handshake deal to promote opportunities and pass along resumes.”

“Not all internships have been created equally,” Nicole remarks on the abundance of opportunities available. “But if you position yourself in an opportunity where you are working with a supervisor who understands the educational nature of internships, in a role and institution you would like to learn more about, there is much to be gained.”

“It is my thought that the ARAD internship program should be first and foremost an academic program,” Juliana agrees. “I am working to identify internship opportunities that set a high bar in terms of the kind of hands-on learning, training and networking experiences they can provide. Those are the settings I want to see ARADers in – rigorous, academic, meaningful.”

Students in the ARAD program concentrate their studies in either the Visual or Performing Arts, but there are innumerable specializations within each of these overarching disciplines. Students currently research and interview for their own internship positions, some of which are found from Juliana’s weekly internship announcement. ARAD interns work with a wide expanse of arts organizations: from Lincoln Center to the Public Theatre. The opportunities students will have once their position has been secured can also vary greatly, depending on the capacity of each organization.

“Typically I think the smaller the organization, the more opportunities there are to insert oneself into the current projects of the department or one’s immediate supervisor,” Juliana describes. “In larger organizations, typically, I think interns take on a more focused role. One may enter a department of a large organization with, say, a staff of thirty people, all of whom function in very specific roles within that area of operation. So, the tasks may be more singular, and opportunities for trying different kinds of work may be limited.”

“Ultimately, it is all about the supervisor,” Juliana continues. “No matter what the host organization – big or small – the relationship with your supervisor makes all the difference. If you find someone who mentors you and supports your advancement as an arts administrator, that relationship can lead to projects of real substance.”

“I think that good supervisors are respectful of your time and your goals and make an effort to communicate how your work fits into the broader mission of the department and organization,” remarks Nicole. “I think that the most essential components of good internship experiences are respect and communication.”

“The most important thing for me was the support and understanding from my supervisor,” Pearl agrees. “I was very lucky with my internship and had a very supportive supervisor who would push me to try new things. She would also listen to issues I was having or questions I had about the industry and provide advice. . . During my internship, I felt like she was invested in my success, and her support is invaluable.”

This semester Juliana is creating an expanded version of the former internship agreement designed to aid students in defining, and later in measuring, the learning objectives they hope to achieve. Future semesters will include a Symposium for all interns to convene and reflect on their experiences, and a mid-semester on-site visit where Juliana will visit each intern at their host organization. She would also like students to become better educated on the proper workplace procedures and their rights during an internship by encouraging them to learn more about the Fair Labor Standards Act.

“Moving forward, I would like to see more emphasis placed on student reflection on the internship, after it’s completed,” Juliana adds. “I’d like to create a greater sense of student and host investment in that process.”

Juliana concludes: “The deeper the relationship runs, the more meaningful the outcomes will be for all involved.”


– Pearl Kermani worked and studied full time as a Productions Fellow for The Public Theatre.

– Nicole Saint has held three positions since becoming an ARAD student: as a Curatorial and Live Programs Intern for MoMA PS1, as a Marketing Intern for the Whitney Museum of American Art, and as an External Affairs Intern for the Guggenheim Museum.