The position is based in the Library of Congress Prints and Photographs Division where you’ll find wonderful colleagues and great chances to serve researchers ranging from leading scholars to folks just starting to learn about graphic art--all within a strong research context. They include many students, teachers, and creators and thinkers of all kinds, as well as the interested public and of course members of Congress and their constituents and staff. In my experience, the DC area creative community is warm, vibrant, and collaborative.

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The Prints and Photographs Division has one of the largest pictorial research collections in the world with more than 15 million pictures in a variety of visual formats contained in hundreds of individual collections and stored in several locations and remote sites. The collections are among the most varied in subject, time-period, medium, format, physical condition, and intellectual property rights requirements, with attendant concerns regarding security, preservation, safe handling and service. The collections are accessed by means of complex, diverse and often multi-layered intellectual controls in written, filmed and digital forms. The Graphic Arts area has an estimated 500,000 artist prints, posters, documentary drawings, cartoons and comics, historical prints, and pictorial ephemera like trade cards.

Provides reference and research services of limited technical complexity to researchers where user needs are determined easily from interviews or written requests. Provides accurate, competent research guidance on the use and technical aspects of the visual materials collections. Examines publications, electronic resources, and trends in topics related to a specialized field. Develops knowledge of collections for use in performing research tasks. Assists in preparing finding aids and related written products describing collections. Prepares basic and standard responses to written, telephone, or electronic media inquiries.

- Assists with the full range of curatorial duties, including reference, processing, preservation, publication, and exhibition work. Identifies and provides basic curatorial documentation on items and collections for purposes of preservation, processing, and cataloging. Monitors condition and preservation needs of items in the collections. Assists with special reference service, such as unprocessed collections.

- Sees to arrangements for new acquisitions or donations. Researches visual works identified for possible acquisition. Proposes works for possible acquisition. Helps maintain contacts with donors and potential donors, including correspondence and phone communications. Arranges for delivery of objects. Prepares listings of new items.

- Conducts research using established methods. Researches visual collections, searches published and unpublished sources to complete cataloging, establish provenance, answer public inquiries, provide research support for exhibit/publication projects, and otherwise contribute to the accessibility and wider availability of the collections, etc.

- Compiles background materials under the direction of a curator to inform the interested public (government officials, scholars, publishers, writers, learned societies, etc.) of the Library's resources and services and to support special exhibit and publication projects. May participate in professional associations.

This position is in the Curatorial Section of the Prints and Photographs Division of the Library of Congress.

Calling all graduate students and early-career scholars!

Submissions are now open for APS’s annual CV Workshop, a career development opportunity designed to help members refine their academic and professional profiles.

Limited to 10 participants per session, this workshop offers tailored, constructive, anonymous CV feedback aimed at enhancing competitiveness for future opportunities.

To apply, please submit the following:

Your current CV or résumé

A brief note indicating the types of positions you are targeting (e.g. curatorial roles, academic jobs, fellowships, or other professional paths), to better allow our reviewers to provide the most relevant and actionable advice.
Participants must be APS members in good standing. Spaces will be filled on a first-come, first-served basis, with preference given to applicants who have not previously had an opportunity to participate.

To secure your spot, email info@printscholars.org with the subject line: [CV Workshop_Your Last Name]

The deadline to submit is July 10, 2026.

Applications are now open for “Prints Across the Pacific, 1565–1815,” a Connecting Art Histories project exploring print culture as a key medium of cultural exchange across the early modern Pacific.

UCLA CMRS Center for Early Global Studies invites early to mid-career scholars based in Southeast Asia and Latin America working in art history, book history, literature, curation, librarianship, and related fields to apply. Selected participants (12–15 total) will join three fully funded international seminars in Manila, Mexico City/Puebla, and Madrid/Rome, featuring collaborative research, site visits, and discussions on global print histories.

Submit materials to sporras@tulane.edu and devinfitzgerald@library.ucla.edu by June 22, 2026.

Learn more about the program and application process: https://cmrs.ucla.edu/.../call-for-participants.../

Long considered a distinctive concern for literary specialists, description in fact informs all the arts and humanities and, no doubt, the natural sciences as well. Any object of inquiry—from texts to paintings to other modes of representation or from raw materials to consumer goods or from stars to dark matter—requires some level of description. While description has been and remains a mainstay of Western reflective thought, its valence has fluctuated over time, with some thinkers finding description to be paralyzing or pedantic, extraneous, misleading, even deceptive, and generally unwelcome. Others, reflecting on description specifically in relation to material culture studies, theorized description as a kind of second substance through which we make sense of objects, “reality reconstituted,” as T.H. Breen put it, whereas Jules Prown thought that textual description was, inescapably, the thing itself.

The symposium, The Matter of Description, welcomes submissions from all disciplines concerned with description and the way it interacts with material culture. Papers should offer new perspectives on questions regarding the powers and practices of description, including—perhaps especially—those times when we take descriptions for granted and let them stand unexamined. On the one hand, how does the description of an object inform and transform what can be grasped of it? On the other hand, is there a uniquely material culture approach to description, one that takes material agency seriously and presumes an iterative relationship between describer and described?

Topics may include (but are not limited to) to one or more of the following themes:

Histories of Description
Ekphrasis, Realism, Mimesis, Ut Pictura Poesis and the Imitation of Nature, Word and Image

Missions of Description
Expeditions, Experiments, First Descriptive Encounters, Taxonomies and Classification, Collecting and Archiving, Laws and other Codes, Memorialization, Education

Protocols of Description
The Camera Eye, Impressionistic Description, Thick Description, Processual Description, Translation, Rules, Textbooks, Witness and Meditation, Memory and Remembering

Media of Description
Oral Traditions, Personal Records, Print, Visual Media, Diagrams, Schematics and Maps, Photography and Film, Audio Media, Data Visualization

Ethics of Description
Observational Objectivity, Phenomenological and Hermeneutic Approaches, Colonial and Imperial Gaze, Reparative Description, Politics of Description

Please send abstracts of of no more than 300 words, with a brief CV of no more than two pages, to Martin Brückner (mcb@udel.edu) and Sandy Isenstadt (isnt@udel.edu) by 15 July 2026. The conference takes place 2–3 April 2027 at the University of Delaware and the Winterthur Museum, DE.

The annual in-person meeting of the British Society for Eighteenth-Century Studies is Europe’s largest and most prestigious annual conference dealing with all aspects of the history, culture, and literature of the long eighteenth century. We invite proposals for papers and sessions dealing with any aspect of the long eighteenth century, not only in Britain, but also throughout Europe, North America, and the wider world. Proposals are invited for fully comprised panels of three papers, for roundtable sessions of up to five speakers, for individual papers of twenty minutes duration, and for ‘alternative format’ sessions of your devising. The submission portal for proposals will open 1st June 2026 and close 15th September 2026.

While proposals on all and any eighteenth-century topics are very welcome, this year our plenary speakers will be addressing the topic of ‘Artifice and Authenticity’, and proposals are also invited which address any aspect of this theme.

Authenticity was a key concern of the eighteenth century. As traditional means of assessing rank gave way to new understandings of social distinction, the question of who you really were became ever more important. Social standing could now be judged by manners and appearance, but that meant that anybody with a modicum of money and effort could gain admittance to polite society. This created new anxieties about artifice, which often focused on the falsity of fashion. Considerable attention was paid to whether your buckles were made of gold or pinchbeck, and whether they were adorned with precious stones or cheap alternatives.

As the century wore on, concern grew about the falsity of polite manners. This was witnessed by the controversy over the publication of Chesterfield’s letters to his illegitimate son, which appeared to encourage artifice in the interests of social climbing. Later Georgians admired values such as sincerity and candour, and the cult of sensibility lent itself to the outward expression of ‘true’ inner emotion. The Romantic movement celebrated authenticity, and the perspective of the common people was valued as never before. Even the common soldier found a ready market for his autobiographical writings, as readers sought vicariously to experience the profound reality of war.

As it does today, artificiality preoccupied eighteenth-century thinkers. The many innovations of the period sparked concern about how far humanity was diverging from the natural world. Mechanical inventions put artisans out of work or promised to do things that had formerly been done by a human. Automata played the flute, or played chess, like the famous Mechanical Turk that only later turned out to be a hoax. This has parallels with concerns in our own time about artificial intelligence and the threats that it poses to our intellectual and artistic labour.

The questions of artifice and authenticity therefore add to our understanding of the century in a myriad of ways. And given that the eighteenth century was foundational to the modern world in so many respects, it also sheds light on current attitudes, beliefs and behaviours. Papers, panels and alternative sessions that address any of these aspects are welcome.

Some time will be reserved for hybrid panels, allowing scholars to present remotely. Please indicate if you would like to be considered for remote presentation in your proposal. NOTE: this is not a guarantee of remote participation as there are limited spaces available.

Proposals are subject to our terms and conditions: https://www.bsecs.org.uk/conferences/terms-and-conditions/

Webpage: https://www.bsecs.org.uk/conferences/annual-conference/

Enquiries: Any enquiries regarding the conference programme that are not answered on our website should be addressed to Dr Meg Kobza via the BSECS email address conference.academic@bsecs.org.uk

Proposal decisions: Decisions about conference proposals will be communicated via email by 15 October.

Bursaries: Application detail

Reporting to the Collections Director, the Digitization Archivist will be responsible for implementing digitization services and managing resources that support the current and future needs of our team and community. The Digitization Archivist will support the Collections Director in key areas of digitization project management, data preservation, workflow strategy, and design and launch of the Catalog Records Manager. Responsibilities include internal image request, and external rights and reproductions requests, maintaining local server and cloud-based backup repositories, and uploads to our Online Archive. The Digitization Archivist will keep informed of current developments within the field and participate in professional associations locally, nationally and internationally. This role will lead the digitization studio at Letterform Archive, have one internal report (Digitization Associate), and manage relationships with outside vendors. This is a full-time, onsite position based in San Francisco, with 1-2 work from home days per week.

Find more information at the link below.

CALL FOR ENTRIES
Bradbury Art Museum, Arkansas State University
The Bradbury Art Museum (BAM) invites submissions to the 2027 Delta National Small Prints Exhibition (DNSPE), a nationally recognized juried show dedicated to contemporary printmaking. DNSPE showcases the diversity, technical innovation, and conceptual depth of works on paper while supporting the growth of the museum’s permanent collection.
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Deadline: Monday, August 31st, 2026, 11:59PM (CST)
Exhibition Dates: January 29 – March 18, 2027
Juror: Phil Sanders, master printer, educator, author of Prints and Their Makers, 2024, founder of PS Marlowe, a creative services consultancy firm and fine art publisher based in Asheville, NC.
Eligibility: Open to all artists aged 18 or older.
Works must be: Original prints on paper. Created within the past two years.
Acceptable media include, but are not limited to: Intaglio, Lithography, Relief, Serigraphy (screenprint), Digital and photographic processes, Monotype
Not eligible: Reproductions of pre-existing works, Works previously exhibited in DNSPE.

SUBMISSION GUIDELINES
Each artist may submit up to three works.
Images must be: JPEG format (preferred), at least 300 dpi (minimum 2000px on the longest side). All submitted documentation of art works must be publication quality to become accepted works and be reproduced in a full-color exhibition catalog.
By submitting, artists grant permission for images to be used for: Exhibition catalog, promotional materials, and educational purposes.
Unsigned images are preferred.
Selection and Notification: Results will be notified on October 7, 2026. Accepted works must arrive at BAM by November 2, 2026.
Presentation Requirements
Bradbury Art Museum will frame all accepted works.
To ensure proper presentation, works must be: matted or mounted, using only white or off-white matting, or arrive in a ready-to-install state.
Sized to fit one of the following standard dimensions: 16 × 20 inches, 18 × 24 inches, 20 × 24 inches, 24 × 24 inches, 24 × 32 inches. Works that do not meet these specifications cannot be exhibited.
Awards and Acquisitions: Purchase Awards and Juror’s Merit Awards will be announced at the opening.
Award recipients will have an artist statement (up to 100 words) included in the catalog. The artist statement must address the specific work submitted. Please describe the subject matter, the processes and considerations involved in its creation, and the influences that informed it. General or non-specific statements will not be accepted.
Approximately half of the exhibition is traditionally acquired for The Arkansas State University Permanent Collection and Private collectors. Bradbury Art Museum hosts this collection and , for the past 31 years, has amassed an unprecedented archive of contemporary printmaking.

SALES
All works will be available for sale. BAM retains a 30% commission on all sales, including purchase awards. In the event of an unsold work, please indicate whether you would be willing to donate the work to the Bradbury Art Museum’s collection.

ENTRY FEE
$35 (non-refundable),
Includes submission of up to three works.

CONTACT INFO
dnspe@astate.edu
📞 (870) 972-3434
www.bradburyartmuseum.org
Important Note: If you use Gmail, please add dnspe@astate.edu to your contacts to ensure receipt of notifications.

IFPDA Foundation Intern (Temporary, Part-Time)
Prints & Drawings

SUMMARY
Reporting to the Associate Curator, the intern will gain supervised experience handling works on paper, develop skills in collections research, become familiar with The Museum System (TMS) database, and receive training in professional museum practices. Additional opportunities include cross-departmental collaboration and contributing to a public-facing blog post.

This internship offers hands-on experience within a major museum print collection of more than 25,000 objects. The intern will support a focused research and cataloging project on LACMA’s extensive Cirrus Editions Archive, working with curatorial and collections staff to review and organize records while learning to distinguish between editioned and non-editioned materials.

This is an 8-week paid internship, approximately 24 hours per week at $17.87/hour.

Annual Meeting of the RENAISSANCE SOCIETY OF AMERICA
11-13 March 2027
Philadelphia

The Association of Print Scholars (APS) invites thematic proposals for its sponsored panel at the 2027 Renaissance Society of America (RSA) conference, to be held in Philadelphia from 11-13 March.

The APS-sponsored panel may relate to any theme of Renaissance and Early Modern printmaking, or any aspect of print scholarship for the era 1300–1700. RSA is a multidisciplinary society, and we especially welcome panel proposals that transcend geographic and disciplinary boundaries, as well as those that engage current theoretical interests in historiography, materialism, archival theory, bibliographic studies, or social history.

Co-organized proposals are welcome. Organizers may act as chair(s), or they may elect another scholar to serve this position, as per RSA guidelines. You do not need to be an RSA member to submit a proposal to APS, but all accepted participants must become RSA members for 2027 and register for the conference. Please note that proposing a panel indicates your commitment to attend.

Organizers, chairs, and/or co-organizers or co-chairs must be members of APS, however, please note that those currently serving as APS officers, whether elected or appointed, may not submit conference proposals for panels sponsored by the organization during their tenure, although are welcome to participate in the selected panel.

If you are interested in chairing a panel, please submit a 15-word title, 300-word panel abstract, and 2-page CV by 12 June 2026 to rsacoordinator@printscholars.org. You do not need to propose a full panel of presenters in order to submit a proposal.

PANEL PROPOSAL DEADLINE:
12 June 2026
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Acceptance decisions will be communicated by 19 June 2026.

Crow's Shadow Institute of the Arts, a world-class publisher of original prints, is seeking a lead printer and a collaborating printer to join their team. As many of you know, Crow's Shadow attracts some of the finest talents of contemporary printmaking including artists Jeffrey Gibson, Wendy Red Star, Dyani White Hawk, Marie Watt, and Cannupa Hanska Luger, among others. Please see the attached PDF to learn more about Crow's Shadow and the job positions. Please circulate this opportunity to potential candidates.