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1st lesson free!
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Response Time 5h
Lessons offered by Claire
  • Individual
  • In group
The lessons will be held
  • at your home
  • By webcam
Taught subjects
  • History
  • Art history
  • Journalism
  • All Levels

Freelance art curator and arts writer offering bespoke art history tutoring sessions


I approach each topic by breaking it down in a way that matches individual needs. I believe that everyone absorbs information, and approaches challenges differently, and my teaching style understands this with each topic tailored to suit your learning method.


I am a visual arts curator and writer currently based in London. I have past experience working with educational groups in a gallery context as well as delivery one-to-one tutoring sessions to higher education students. Working in the arts industry means I am very well-versed on art history and current industry practice. My industry experience, paired with my academic background, means I am well prepared to deliver practical and informative tutoring sessions tailored to your needs so that you can achieve your best.


Rate for online lessons : £20/h
Rate for 5 hours of lessons : £80
Rate for 10 hours of lessons : £160
Lessons offered by Claire
In group
The lessons will be held
at your home
Taught subjects
  • History
  • Art history
  • Journalism
  • All Levels

Claire 's CV

Claire Dalgleish

I am a creative and dynamic art curator, writer, and educator, who is passionate about contemporary art and culture. I have a strong history in working alongside artists, curators, and editors to deliver high quality exhibitions, catalogues, and projects. I pride myself on my work ethic, my professional manner and discretion as well as my ability to deliver projects and assignments to an exemplary standard.

I attended Tanglin Trust British International School, Singapore for my secondary school education. I completed my GCSEs and A Levels under the Edexcel and Cambridge system.


• Community Heritage Grant, The National Library of Australia (2015-2016)
A collection and conservation course carried out at the National Library of Australia, the National Film and Sound Archive, and the National Museum of Australia across a working week.
• Master of Art Curatorship, The University of Sydney (2013)
• Bachelor of Arts (Honours) Art History, The University of Melbourne (2007–2011)
• The Eugenie La Gerche Scholarship, The University of Melbourne (2010 & 2011)

A scholarship for postgraduate art history students
• Tanglin Trust British International School, Singapore (1999 – 2006)
A Levels (Art & Design - A, Psychology - B, English Literature -B)

• Masters dissertation, ‘The Greenberg supremacy: An assessment of Clement Greenberg’s written trajectory and his influence in the writing of Lucy Lippard, Rosalind Krauss, and David Joselit’, The University of Sydney, 2013. Supervised by Dr. Catriona Moore.

• Honours dissertation, ‘The evil conditions of artistic success: a study of the ways in which Albert Tucker and his Images of Modern Evil series travelled together toward public acclaim’, The University of Melbourne, 2011. Supervised by Dr. Susan Lowish.


art.writing.projects Freelancer; London, UK
January 2015 – present
I established art.writing.projects to take editorial commissions that foster dialogue and intellectual debate around contemporary art whilst supporting the visual artists through essays, reviews, interviews, and exhibition projects.
Key responsibilities:
• Create content – tracks engagement with contemporary art on a national and international scale, encourages dialogue on contemporary art practices, supports blog content, promotes exhibitions, promotes and sponsors contemporary artists
• Create blog content – profiles, interviews, and exhibition reviews on contemporary artists such as Laura Jones, Bernard Ollis, Adriane Strampp, and Craig Handley
• Show-case portfolio – share catalogue, magazine, and online editorial commissions for media platforms such as Artsy, Artist Profile magazine, Art Monthly magazine, The Cusp, and AWOL

Events Officer, The Design Museum; London, UK
January 2017 – June 2017
The Design Museum is renowned for its devotion to contemporary design in all forms: graphics, industrial design, fashion, and products.

Key responsibilities:
• Project management – worked with high profile clients such as Jaguar Land Rover, Universal Music, Swarovski, and Sotheby’s that including discussing the initial concept of their event and conducted site-visits to discuss production and catering requirements to realise their event. After this I created event schedules, organised event installation, and acted with discretion as the main point of contact for all enquiries moving forward
• Financial – created event budgets when necessary, tracked outstanding client payments, raised purchase orders, delivered invoices to clients, created internal documents for the Events team to track generated income against outgoing costs
• Installation – safeguarded museum interior during event installation, managed supplier installs ensuring that all staff worked according to schedule, was the main point of contact for event equipment moving into the museum spaces
• Development – created brochures in-line with Marketing and Design department to distribute to external enquiries, worked with I.T. to develop and expand score-sheets that list all A.V. and technician based costs for events

Key achievements:
• Assisting with the development and installation of Jaguar Land Rover Velar launch, comprised of a full orchestra inside the atrium space, two display vehicles, 400 press guests, and 800 private guests
• Assisting with the development of auction house Sotheby’s anniversary sit-down dinner for 120 private clients, comprised of a 100 voice choir, and stunt artists performing acrobatics across two flights of the museums open atrium space into the audience below
• An industry conference for Farfetch fashion website that included a panel discussion guest-speaker Will.i.am and a pop-up luxury shop in an exhibition space

Collect Sales Assistant, Saatchi Gallery, Petronilla Silver Gallery, Collect Art Fair 2017; London, UK
February 2017
At Collect 2017 Petronilla Silver Gallery represented Tony Hayward, Nicola Tassie, Janice Tchalenko, and Melanie Georgacopoulos.

Key responsibilities:
• Client-facing invigilation– answered sales related queries to the general public, introduced buyers to artist portfolios, encouraged sales from potential buyers
• Sales – processed artwork sales, wrapped sold works, arranged delivery of artworks

Assistant Curator/Exhibitions Assistant, National Trust S.H. Ervin Gallery; Sydney, Australia
October 2013 – January 2017
S.H. Ervin Gallery is one of Sydney’s leading not-for-profit art institutions dedicated to the display of Australian contemporary and historical art. The gallery showcases eight exhibitions a year and preserves a collection of over 450 paintings, works on paper, sculptures, and objects from the mid-nineteenth to the late 20th century.

Key responsibilities:
• Exhibition development – researched exhibition concepts, researched art work and artist history for exhibitions, wrote loan agreements, liaised with artists/dealers/galleries/funding bodies, arranged freight delivery and collection
• Exhibition installation – handled works, created wall labels, wrote condition reports for incoming and outgoing works
• Catalogue development – compiled bibliographies, copy-edited curator essays/illustration lists/timelines/image captions, liaised with designers and curators as to the catalogue design and layout
• Collection management – responsible for care and safety of 450 paintings and objects in gallery collection, audited collection in 2016, maintained and updated Vernon database records to reflect the status of paintings/objects, ordered and implemented conservation materials on an as-need basis, safeguarded collection-store and was the first point of contact for all collection and collection-store based enquiries
• Gallery finances and retail – created and tracked exhibition budgets, wrote and acquitted exhibition grants, managed retail stock and sales, managed invoices for commercial sales
• Managed media – developed and strengthened cross-contra relationships, handled media enquiries, in charge of distributing images and captions to journalist for print and online media including social media/e-Newsletters
• Tours and talks – initiated public programs with curators, artists and academics in line with exhibition calendar, lead Tuesday Talks each week to engage visitors and encourage independent art discussions
• Managed a team of 120 volunteers – created roster, conducted training, delegated daily duties

Key achievements:
• Managed Collection and Conservation Project 2016 in conjunction with International Conservation Services. This involved auditing, cleaning, and re-arranging 450 collection items within a tight 4-week timeframe
• Responsible for research, development, and execution of blockbuster exhibition Destination Sydney, which achieved record breaking attendance levels and went on to win the IMAGinE Award from Museums & Galleries NSW in November 2016
• Managed two 12-month touring exhibitions – created tour ‘bibles’, arranged freight between venues, created private loan agreements, managed invoicing for catalogues and exhibition fees.
• Initiated and developed @shervingallery to have over 2,500 followers, wrote content for bi-weekly e-Newsletters to 10,000 subscribers in addition to promoting cross-contra relationships to increase ticket sales
• Responsible for the development of 21 exhibitions and 4 exhibition catalogues

Studio Manager to Wendy Sharpe and Bernard Ollis; Sydney, Australia and Paris, France
September 2013 – June 2014

Australian artists Wendy Sharpe and Bernard Ollis are high-profile prolific artists. Although individual artists in their own right, Sharpe and Ollis have joint studios. They showcase their work nationally and internationally. Across Australia they exhibit in national institutions and commercial galleries.
Key responsibilities:
• Managed studio timetable – media interviews, freight pickups, and deliveries
• Administrator – organised travel, booked hotels, assisted applications for visual arts prizes such as the Archibald Prize and the Black Swan Prize, provided itineraries for international travel to Paris and Berlin
• Facilitated and executed exhibition preparation – photographs of works, catalogue text submissions, and updated location of works on database for exhibition records
• Facilitated brand development – created and expanded social media profiles and media opportunities

Publishing and Digital Media Intern, Solomon R. Guggenheim Museum; New York City, USA
September – December 2012
The Solomon R. Guggenheim Museum is a renowned international institution founded on a collection of modern masterpieces and continues to be devoted to art from and following the 20th century. The museum offers a series of 4-month internships of 27 hours per week. My supervisor in the program was Naomi Leibowitz, Associate Director, Creative Strategy and Operations
Key responsibilities:
• Image rights clearance – created and maintained Excel spreadsheets to track permissions for images, AV material, and photographs pertaining to the Guggenheim digital application, ensured all material had clearance, organised and collated soft and hard copies of agreements
• Copy editing – catalogue texts, digital media files, and photograph captions
• Generated copy from Curatorial and Photography departmental archives to be included as part of the Guggenheim digital application
• Photo shoots – in the museum of exhibition installations and at the off-site collection repository for museum archives and publications

Curatorial Intern, The Heidi Museum of Modern Art; Melbourne, Australia
April – June 2011
After conducting research for my Honours dissertation at The Heidi Museum of Modern Art, Senior Curator Lesley Harding invited me to assist with the installation of Albert Tucker’s Images of Modern Evil exhibition and to curate archival material in exhibition display cases.


• The Salon des Refusés, S.H. Ervin Gallery, 2013, 2014, 2015, 2016
• The Portia Geach Memorial Award, S.H. Ervin Gallery, 2013, 2014, 2015, 2016
• Revealed: The Gallery Conservation and Collection in Action, S.H. Ervin Gallery, 2016
• Genesis of a Painter: Guy Warren at 95, S.H. Ervin Gallery, 2016
• (more) Private Lives: The Artist as Collector, S.H. Ervin Gallery, 2016
• Destination Sydney, S.H. Ervin Gallery, 2015 – 2016
• Painter in Paradise: William Dobell in New Guinea, S.H. Ervin Gallery, 2015
• Roy Jackson: A Retrospective, S.H. Ervin Gallery, 2015
• Arthur Boyd: An Active Witness, S.H. Ervin Gallery, 2014
• Bill Brown: Wanderlust, S.H. Ervin Gallery, 2014
• Reality in Flames (An Australian War Memorial travelling exhibition), S.H. Ervin Gallery, 2014
• Vertical Villages, 4A Centre for Contemporary Asian Art, 2013
• Gabriel Orozco: Asterisms, The Solomon R. Guggenheim Museum, 2012
• Images of Modern Evil, The Heidi Museum of Modern Art, 2011
• This Issue is About Women, The Ian Potter Museum of Art, The University of Melbourne, 2010


• Craig Handley, ‘The Trappings’, catalogue text, Piermarq Gallery and Artsy, 2017
• Adriane Strampp: selected works, catalogue text, Hill Smith Gallery publishing 2017

Strampp is a highly acclaimed Australian art who invited me to write the introductory text for her exhibition catalogue that travelled to the Hong Kong art fair in 2017.
• ‘The Portia Geach Memorial Award’, Portia magazine, November 2016
I was commissioned to write a 1000 word essay on the history of the Portia Geach Memorial Award and its relevance as a contemporary art prize for women.

• ‘Celebrating the Portia Geach Memorial Award on its 50th anniversary’, Artist Profile magazine, Issue 32, July 2015
A 1500-word essay on the importance and relevance of an all-female art prize in contemporary art practice.

• ‘Albert Tucker’s Images of Modern Evil series’, Art Monthly Australia, September 2011

A 1500-word review of the Heidi Museum of Modern Art’s exhibition.

dLux MediaArts Emerging Writers Program (2015)

dLux MediaArts is a not-for-profit organisation that delivers experiential exhibitions and programs designed to engage communities with technology and art.

As part of this program I was invited to interview 3 emerging video artists about their work which was to be displayed in a correlating exhibition. I then met with the exhibition curator to discuss the direction of the exhibition and developed a 1000-word catalogue essay in response to the artists work and the overarching narrative of the exhibition.

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