The Eskenazi School of Art Architecture + Design at Indiana University Bloomington invites applications for a 4-6 week McKinney International Art and Design Residency. An established artist or designer will be selected whose primary country of residence is outside the United States. Applicants should be actively engaged in a contemporary artistic practice and show evidence of a national and international exhibition record. Applications from practitioners of studio disciplines, as well as criticism, are welcome.

Selected artists are required to visit for a 4-6 week period between October 1-December 11, 2020.

The Artist-in-Residence will be selected based on the merits of their professional careers, their dedication to being part of an academic environment, and their proposal to develop and expand on their creative process utilizing the facilities, unique collections, and research centers available at Indiana University. Selected applicants will be featured as part of the McKinney Visiting Artist Lecture Series and must remain in residence for the full period of the residency. In addition, prospective residents will coordinate with the Eskenazi School of Art + Design to offer studio visits, open studios, and a workshop based on technical/conceptual innovations.

Studio space, lodging, and an honorarium of $5,000 USD will be provided. The program will also reimburse travel up to $2,000, cover the cost of health insurance for the length of the appointment, and purchase up to $500 in supplies through the school. Other studio expenses will be the responsibility of the successful applicant.
To apply, submit a cover letter, CV, 500-word proposal, portfolio of ten images of recent work (artists) or 2 writing samples (critics/writers). Please specify date preferences and interest in studio and research facilities and how these might best support your proposal.

Artists are invited to develop proposals using the following resources:
Access to studios from all 10 areas
○ Eskenazi Museum of Art. Holdings include significant original prints, photographs and collections of prehistoric to contemporary art
○ Grunwald Gallery of Art. Exhibits of contemporary art and faculty and student work
○ Fine Arts Library. holds significant collection of artist books
○ Lilly Library. Rare books and manuscripts (closed for renovation through 2021)
○ Kinsey Institute for Sex Research. Archive of art, publications, materials related to Sex research
○ Center for Integrative Photographic Studies(CIPS). Photography, lens-based and sensing imaging across many disciplines in the arts, humanities and sciences
○ Mathers Museum of World Cultures. Collections, exhibits and programs about its anthropological collections. (closed for renovation through 2021)
○ Elizabeth Sage Costume Collection. Historic fashion and costumes
○ Jacobs School of Music. Music conservatory
○ IU Cinema. Art film cinema
○ Additional Bloomington campus or regional research resources or cultural assets.

Please visit the 'External Link' below for more information and to access the application.

The School of the Museum of Fine Arts at Tufts University invites applications for a full-time Professor of the Practice position in Print beginning in September 2020. We seek a dynamic practicing artist who has a strong grounding in the theoretical, historical and practical aspects of working with print media, and is actively engaged in research and creative scholarship through the making of work. The SMFA Print, Paper and Graphic Arts department supports faculty members who represent a wide spectrum of approaches to thinking and working with print in an expanded field. We seek a colleague who will bring dynamic vision, innovation, and strong leadership to the Print area.

SMFA, located in downtown Boston, is an interdisciplinary art school at which faculty engage with students working in a variety of disciplines. Working across media is encouraged. We offer diploma, undergraduate, graduate, and postgraduate programs. SMFA is administratively part of the School of Arts and Sciences, and our faculty, students, and staff have broad opportunities to interact with faculty across the university.

Qualifications
Candidates for this position should have significant professional exhibition experience and extensive critical, theoretical, and historical background in the field of print media. They should be able teach introductory through graduate-level courses, mentor students in their studio practice, work collaboratively with faculty in the department, and to develop cross-disciplinary studio courses and seminars with colleagues beyond the department.

The successful candidate will have demonstrated accomplishments as both an educator and artist whose work engages both the theories and practices of print. This could include expertise in several of the following: intaglio, relief, lithography, screenprinting, papermaking, letterpress, Risograph printing, digital printing, and book arts.

MFA with a minimum of three years’ teaching experience at the undergraduate and graduate levels; an active record of exhibitions nationally and internationally; and the ability to teach across a broad range of historical and contemporary print practices are required.

How To Apply:
Please submit the following via Interfolio at http://apply.interfolio.com/72676.
• Letter of application
• Curriculum Vitae
• Contact information for three references (letters will be requested for finalists)
• Teaching philosophy
• Examples of work

Review of applications will begin on February 1, 2020, and will continue until the position is filled.

Please visit the 'External Link' below for more information and to apply.

The University of Iowa School of Art and Art History seeks applications from emerging to established artists in printmaking for the Grant Wood Fellowship Program for the 2020-21 academic year.

Fellowship Recipient Responsibilities:
- Teach one class per semester in the University of Iowa School of Art & Art History, Printmaking Area. The candidate may teach either an introductory, intermediate or an advanced course depending on the needs of the program.
- Present a public lecture about their work
- Participate in limited public outreach activities (e.g.: workshops, discussion of your work with a local arts organization)
- Shared exhibition at end-of-year with the Grant Wood Fellow in Painting & Drawing, and possibly the fellow in Performing Arts.

Fellows Receive:
- An appointment as a Grant Wood Visiting Assistant Professor in Printmaking.
- $40,000 salary and benefits
- Private studio
- Private furnished housing (in an off- campus residence)

Required Qualifications:
The applicant will have received an MFA in printmaking or have a combination of education and experience that exceeds the MFA degree by the start of the appointment.

In addition, the applicant must have evidence of a national exhibition record, university level teaching experience beyond their graduate career, demonstration of a promising program of creative research that contributes to the current needs of the undergraduate and graduate student population in the Studio Art Division.

Desirable Qualifications:
Understanding of a variety of conceptual approaches in the teaching of printmaking, proficiency in critical theory and contemporary art.

Submission:
Candidates should submit applications online at: http://jobs.uiowa.edu. Search requisition #73864.
Review of applications will begin on February 1st, 2020.

Applications must include:
- C.V. including a phone number, email, mailing address and the URL for their website
- Letter of interest
- One-page artist statement
- Link to their artist website providing digital documentation of recent work (at least 20 images with a description of work)
- 3 professional references – names and contact information only

Please visit the 'External Link' below for more information and to apply.

The Saint Louis Art Museum seeks a Study Room Manager for Prints, Drawings, and Photographs. The title and grade for the full-time position will be at the level of Senior Research Assistant or Assistant Curator, commensurate with the successful candidate’s credentials and prior experience. The primary responsibility of the position will be the management of the day-to-day operations of the Study Room for Prints, Drawings, and Photographs, including administrative, curatorial, teaching, and outreach components. The Study Room Manager will interact with the public and museum staff to schedule, plan, and follow through on appointments, including assisting with presentation of the material when appropriate. The Study Room maintains an active schedule serving diverse visitors, with an emphasis on academic classes. Additional responsibilities relating to collection research, acquisitions, exhibitions, etc., will be commensurate with the title. Please see additional details regarding duties and qualifications in the “External Link” below.

Qualifications for Senior Research Assistant and Study Room Manager:
MA in Art History or related field required. Experience in art historical research techniques required. Knowledge of standard museum practices, cataloguing and collections databases. Excellent research and computer skills. Verbal and written communication skills, and attention to detail and accuracy required. Ability to work independently and collaboratively with museum staff and the public. Employ strong interpersonal and logistical skills associated with complex, multi-task projects. Foreign-language proficiency preferred.

Qualifications for Assistant Curator and Study Room Manager:
MA in Art History or related field required. PhD strongly preferred. Demonstrated commitment to scholarship through a record of research, publication, and exhibitions required. Knowledge of study room practices and ability to work independently and collaboratively with museum staff and the public. Employ strong interpersonal and logistical skills associated with complex, multi-task projects. Foreign-language proficiency preferred.

The Book Arts position will involve teaching multi-level classes in book arts, letterpress, papermaking and printmaking. Candidates must have an excellent working knowledge of hand book binding, letterpress, hand papermaking and relevant contemporary critical issues. Principal duties include a demonstrated proficiency in multiple area of expertise such as digital print technologies (for example laser cutter, 3D printed type, CNC router, polymer plate making, digital drawing), hand book binding, letterpress, hand papermaking and printmaking. Consideration will be given to candidates who have a background in digital print practices, and the ability to teach across Printmaking disciplines.

The successful candidate will:
- Teach a load of 2 classes and 1 section of graduate independent study per semester to undergraduate and graduate students from across the Department (Non-Majors, Certificate, Majors: BA, BFA, MA, and MFA) in undergraduate and graduate level courses and special topics in a wide range/variety of Book Arts, Papermaking & Printmaking art practices.
- Teach new course offerings in artist books, letterpress and papermaking that combine multiple technologies and work across printmaking disciplines of special topics classes to graduate and undergraduate students.
- Serve on graduate committees with MA and MFA candidates and advise and mentor graduate students within an interdisciplinary Art Department.
- Provide leadership, mentoring, and guidance to students.
- Demonstrate an active commitment to the continued growth and development of the undergraduate and graduate program and community.
- Work collegially in a three-person Printmaking area within a large and vibrant Art Department.
- Oversee the Book Arts and Papermill studio laboratories and serve and part of a highly ranked printmaking area within the Art Department.
- Build and maintain an active studio practice of nationally recognized quality, at a level that will meet tenure expectations at a research institution.
- Have a strong commitment to using a combination of historic and new technologies within the practice of Book Arts, Papermaking & Printmaking.
- Participate in service activities at the local, state, and national level as well as the University.
- Meet the teaching, research, and service expectations of the department and university.

Degree/Area of Specialization:
Book Arts, Papermaking & Printmaking. Candidate must hold an MFA degree in Art with a specialization in Book Arts, or Papermaking or equivalent relevant experience in the field.

Minimum Years and Relevant Type of Work Experience:
The University of Wisconsin-Madison seeks candidates with distinguished exhibition and professional achievements. The ability to engage with a multi-disciplinary Art Department is a significant aspect of the position. Applicants should demonstrate evidence of excellence in teaching, a comprehensive understanding of historical and contemporary art theory and practice excellence in research and productivity in the field. A minimum of two years' college level teaching is preferred.

Applications must be submitted online. You must upload the following:
1. Letter of application stating how experience and credentials make you a good fit for this position.
2. Teaching philosophy
3. Proposals or Syllabi for introductory and advanced level courses as one document.
4. Curriculum Vitae
5. A list of names/email addresses/telephone numbers of 3 references (no recommendation letters).
6. Documentation of artwork: submit up to 20 images as one document.
7. Documentation of student artwork: submit up to 20 images as one document.

The deadline for assuring full consideration is February 18, 2020, however positions will remain open and applications may be considered until the position is filled.

Please visit the 'External Link' below for more information and to apply.

The Morgan Library & Museum is pleased to announce the Moore Curatorial Fellowship in the Department of Drawings and Prints. This one-year appointment, eligible for a one-year renewal, provides the opportunity to gain firsthand experience and professional training in curatorial work and in the study and connoisseurship of old master and nineteenth-century drawings. The Moore Curatorial Fellow will be a fully integrated member of the department, with duties and responsibilities comparable to those of a curatorial assistant or assistant curator. The Fellow will have the opportunity to conduct research on the Morgan’s collection of European drawings before 1900—one of the finest in the country—and to contribute significantly to all phases of exhibition planning, organization, and installation; museum education; publications; and other departmental activities.

In contrast to the fellowships offered by the Morgan Drawing Institute, which are designed to provide support for scholars working on their own research projects, the Moore Fellowship is intended to offer a varied and practical training in all areas of curatorial work to those interested in pursuing a career as a museum curator, particularly in the field of drawings.

The Morgan Library & Museum is committed to diversity and is proud to be an equal opportunity employer. The Morgan strongly encourages applicants with a demonstrated commitment to fostering diversity, inclusion, and gender equity in programming, outreach, hiring, and collection development.

Qualifications:
- Doctoral work beyond the M.A. in the history of art, with preference given to those having recently completed a PhD.
- Proficiency in at least one European language.
- A demonstrated commitment to scholarship in the field of drawings.
- Excellent writing and public speaking skills, together with the ability to interpret exhibitions for a wide audience.
- An interest in and enthusiasm for museum work, and the ability to work collaboratively and to approach a broad range of tasks with a positive outlook.

To apply:
Please submit electronically, in a single pdf document, a letter addressing your interest in the Fellowship, a complete curriculum vitae including language proficiencies, and names of three references to drawingsadmin@themorgan.org with the subject heading “Moore Fellow.”

The Fellowship term will begin in September 2020.

Deadline for applications: March 1, 2020

Digital and printed map graphics underpin current discourse among news outlets concerning ecological resources, indigenous land rights, immigration, and urban planning. Maps, as normally understood today, diagram the relative spatial relationships of locations, people, and material resources. Such informational graphics provide spatial data and inscribe the identifying features of the represented communities and ideologies of the cartographer into print and pixels. Graphics thereby reinforce the factual nature of the audio, visual or typographic narratives surrounding the map.

Scholarship on cartography in the Americas has largely isolated maps, atlases, and travel ephemera from the historiography of printmaking and the graphic arts. Synchronously, various environmental protests widely reported in recent years highlight the relationships between place and the work of indigenous artists. The 60th Anniversaries of Kinngait Studios at the West Baffin Eskimo Cooperative and the Tamarind Institute, along with a forthcoming exhibit at the University of New Mexico’s Art Museum particularly highlight the crucial roles of Native American and First Nations printmakers in the commercial and critical prominence of print media. Acknowledging these developments and seeking to contribute to ongoing discourse regarding the production, circulation, and criticism of the graphic arts, the thirteenth volume of Hemisphere: Visual Cultures of the Americas will center on the theme, “Cartographic Infrastructures: Mapping and the Graphic Arts from 1500 to the Present.” The editorial committee seeks essays from graduate students presenting interdisciplinary research that considers the ways in which the spectrum of media—i.e. graphic arts, graphic design, infographics, pictographs, and/or works on paper—thematically, conceptually, and formally intersect across historical eras and political, ideological, and geological boundaries. Our aim in doing so is to provide broader esthetic and critical contexts to understand applications of maps and infographics in social and political discourse. 


Topics for essays include, but are not limited to:
Representations of borders
Equal Earth Projection
Asamblea de Artistas Revolucionarios de Oaxaca (ASARO)
Crow’s Shadow Institute of the Arts
Kinngait Studios
Tamarind Institute and reviews of exhibits or events affiliated with the 60th Anniversary
Exhibitions-To-Go from the Center for the Study of Political Graphics
Protest signage
Surveillance signage and graphics
Persuasive cartography and cartography as satire
Illustration and the periodical press
Landscape iconography
Indigenous epistemologies
Engagement of contemporary print workshops with urban planning and cityscapes
Global Information Systems (GIS) and gentrification
Graphical User Interface
Immersive print installation
Urban, suburban, and rural infrastructures
Advertising, packaging and trade ephemera
Alternative or conceptual mapping

Please send papers to hmsphr@unm.edu no later than March 8, 2020. Detailed instructions for formatting papers are available at the 'External Link' listed below.

«Grafica d’arte», fondata nel 1990 da Paolo Bellini, per anni docente di Storia dell’Incisione all’Università Cattolica di Milano; annualmente pubblica 4 fascicoli (ciascuno di 52 pagine), intervallati da 4 supplementi – «L’occhio nel segno» (ciascuno di 32 pagine). È diffusa solo per abbonamento (euro 59 per l’Italia).

Contenuti dei possibili contributi
La Rivista invita a presentare contributi su opere grafiche (incisioni, litografie, disegni).
Gli articoli possono riguardare aspetti di storia dell’incisione e del disegno dal XV al XX secolo e, preferibilmente, del XXI secolo.

Dettagli tecnici
I contributi, redatti in lingua italiana, dovranno essere inediti e saranno da inviare, in formato docx oppure in pdf, a info@graficadarte.it entro il 31 marzo 2020.
A questo indirizzo di posta elettronica si dovranno far pervenire quattro files distinti:
1) Testo del contributo (in questo file non utilizzare il comando automatico delle note, ma inserire manualmente i numeri di nota nel testo, ponendoli in apice).
2) Note e didascalie delle illustrazioni (nome e cognome dell’autore, titolo, tecnica, anno, eventuale ubicazione).
3) Le immagini (in formato TIFF con una risoluzione minima di 300px e con una base minima di cm 12).
4) Dati dell’autore del contributo: nome, cognome, affiliazione, curriculum (che non superi le 4.000 battute), indirizzo mail e indirizzo civico.
La lunghezza massima dei testi non deve superare le 16.000 battute (spazi inclusi e note comprese).

Processo valutativo
Ciascun contributo verrà valutato in forma anonima da due esperti del settore, motivo per cui il testo non deve contenere alcun riferimento identificativo dell’autore stesso.

Al termine della valutazione, a ciascun autore verrà comunicato se il proprio articolo è:
– pubblicabile
– pubblicabile con lievi modifiche (che verranno indicate)
– pubblicabile con sostanziali modifiche
– non pubblicabile

Per informazioni è possibile contattare info@graficadarte.it.

Please visit the 'External Link' below for more information.

Surface Impressions intends to connect artists and audiences to the 21st century language of relief printmaking as a viable artistic engagement for today.

Seventy-five prints will be selected by Juror Mark Pascale, the Janet and Craig Duchossois Curator of Prints and Drawings, the Art Institute of Chicago. Fifty prints will be on display at the LUX Center for the Arts, and 25 will be on display at Constellation Studios.

This inaugural biennial of relief prints here in the center of America will showcase artists from around the country and abroad, all selected from an open call for entries. The works on exhibition focus on the role of the relief print as a means of cultural critique and exploration of this ancient but newly invigorated discipline as practiced and defined by today’s artists.

The LUX Center for the Arts, in cooperation with Constellation Studios, will present ‘Surface Impressions,’ an ambitious exhibition focusing on hand-produced relief prints from woodblock, linoleum cut, wood engraving, and mixed media relief prints.

This showcase will bring fine art prints to the forefront, enabling Lincoln, the LUX Center for the Arts, and Constellation Studios to join in a world-wide conversation about creative innovations in prints.

Dates + Details:
December 1, 2019 – Open for Submissions (online)
April 1, 2020 – Deadline for submissions
April 15, 2020 – Artists Notified
June 3-6, 2020 – Juror events, opening, award selection
Summer 2020 – Events, workshops, steamroller printing

Eligible works: Original fine art prints from woodblocks, wood engravings, linoleum, and alternative relief surfaces; prints are to be printed on paper; created in 2017 to 2020.

All national and international artists (18 years and older) are eligible to enter 3 works.

Please visit the 'External Link' below for more information and to access the application (those details may be TBA; please check back soon, if so).

San Francisco Center for the Book is pleased to announce that we are seeking submissions for Reclamation: Artists' Books on the Environment. The exhibition will open at SFCB in Summer 2021 as one of many worldwide actions in response to Extraction: Art on the Edge of the Abyss, a manifesto issued by Peter Koch in 2018. Reclamation: Artists' Books on the Environment will subsequently travel, accompanied by an illustrated catalogue with essays by the curator and jurors.

Reclamation: Artists' Books on the Environment will consider our relationship to the environment at this moment on the planet. Book artists create works that involve, educate, and inspire action. Book art takes many forms. Sculptural bookworks, for example, command attention so that viewers are compelled to reflect upon the issues explored in the work. Paginated artists’ books rely on a reader’s touch to encourage a measured exploration of complicated topics, one page opening at a time. Many compelling works integrate pagination with sculptural and material richness to create a multi-sensory reading experience.

The book form's expressive strengths offer a perfect vehicle for reclamation, the focus of this show, which refers to the process of claiming something back or of reasserting a right.

Reclamation: Artists' Books on the Environment will consider our relationship to the environment at this moment on the planet. Topics may include:
-Works that explore environmental concerns or expose environmental threat or degradation under way;
-Works that celebrate beauty in nature as a means of “bringing copies of itself into being,”[1] as in the protection of wild lands;
-Works that explore cultures such as those of indigenous peoples that are directed by a respect for the earth;
-Works that delve into conflicts faced by communities struggling to transition from a heritage energy economy (such as those supported by coal or lumber) into a clean energy economy.

Reclamation seeks to inspire and educate visitors to reflect on climate change and its impacts locally, nationally and internationally. At the same time, the exhibition endeavors to avoid dualistic arguments common to today’s divisive political scene.

This exhibit is open to handmade book and paper arts-related works created as either edition or one-of-a-kind. Works should reflect the highest level of craft. Artists' books, sculptural books, book objects, altered books, installations, zines, and broadsides are all encouraged. For additional details, a full prospectus, and application instructions, please visit the 'External Link' below.