About

Opportunities

Opportunities

Internship inquiries should be directed to Susannah Darrow.

Editorial Internships

The Editorial Intern will assist the Editor with content production, research, fact checking, transcribing, and scheduling. The intern should have excellent writing, research, editing, and computer skills. They will do some website management to assist with magazine content. Experience with writing, WordPress or blogging platforms, and demonstrable knowledge of contemporary art history is preferred.

To apply:
Please send a resume, two writing samples, and list of three references.

Design/Web Internships

The Web and Design Intern will assist the Executive Director and Editor on projects related to our Five Year Anniversary Campaign and regular programs. This individual will assist with website updates as needed, branding-related projects, creation of marketing materials and photo editing. The Design and Web Intern must be comfortable using both WordPress and Photoshop.

To apply:
Please send a resume and portfolio examples.

Social Media Internships

The Social Media Intern is responsible for the development of interaction with our readership and audience to maximize the reach of BURNAWAY. This individual manages and oversees all the social media platform’s content: Foursquare, Twitter, Tumblr, Facebook, Flickr, and Instagram. The Social Media Intern is responsible for BURNAWAY’s weekly newsletter (MailChimp) and executes social media and marketing tasks as needed. In addition, the Social Media Intern will run website analytics reporting and documents growth, demographics, and interactions with readers.

To apply:
Please send a resume and writing sample.

Audio Internships

The Audio Intern will assist with our BURNAWAY Radio programming, including weekly ARTSpeak, biweekly Out There Atlanta and WonderRoot podcasts, and monthly Loveseat audio content in partnership with StoryCorps Atlanta. The Audio Intern will assist the Audio Events Coordinator during weekly interviews at AM1690’s radio station and coordinate scheduling for broadcasts and interviews. This individual is responsible for all interview transcriptions, updating and maintaining the podcast stream on our iTunes (or similar) station, and may be called on to assist in publishing these broadcasts.

To apply:
Please send a resume, one writing sample, and list of three references.

Submissions

BURNAWAY is open to receiving all pitches. We receive more pitches than we can publish. Please note that we are a small but dedicated staff. Please review our website to get an idea of previously published content, styles, and themes. It is very important all writers/contributors have a specific point of view, opinion, or thesis.

In addition to standard exhibition reviews of 500-800 words, we feature concise reviews in our In 200 Words column, which average 200-300 words with 1-2 images. Features are 1,200-2,500 words with 3-6 images.

Think broadly. Potential stories could involve Southern artists showing in New York, Los Angeles, or elsewhere; artists from outside the region visiting the South on residencies or teaching stints; and figures having an impact on the South, such as Franklin Sirmans, curator of the upcoming Prospect 3 biennial in New Orleans; etc.

BURNAWAY also posts book and film reviews, Q&As with artists and art professionals, previews, opinion pieces, news stories, collector profiles and stories about collecting, and regular columns Artists on Art, Permanent Residents (personal favorite works of art in various cities’ institutions), Theory in Studio (explications of theory as it applies to art), and more.

How to Submit Pitches

Please include dates of exhibition (if time-sensitive) and all applicable links, with a ca. 100 word proposal outlining the subject and the approach you’d take.

Email pitches to Stephanie Cash.

Our conflict of interest policy

BURNAWAY will not consider contributions regarding: the artwork of someone with whom the writer has a personal relationship; the work of an artist, gallery, or institution with whom the writer has a current or previous financial relationship or internship; any gallery that represents his/her work; any gallery institutionally related to the organization employing the writer; a colleague in the institution employing the writer. We also will not consider submissions by a writer whom the gallery or artist has paid or commissioned to write the article in question, or a submission by a writer who collects the work of the artist in question.