The Department of Art & Art History at Dickinson College seeks a Professor of 2D Studio Art at the assistant level for a full-time, tenure track appointment starting in the 2021-22 academic year. Please note, this position is currently pending funding and there is a possibility that the search might be postponed. The position has a focus in drawing and painting and will also require the ability to teach additional courses in the area of printmaking or digital process (potentially both depending on the strengths of the successful candidate). Additionally, there is opportunity to develop courses in other areas of interest related to 2D processes. The position will also share in the instruction of Senior and First-Year Seminars, which are taught on rotating schedules among Department faculty. Candidates for this position should have the desire to be part of a liberal arts institution that values teaching, scholarship, and shared service among faculty. The particular model of teaching at Dickinson encourages curricular connection across disciplines, urges students to explore issues related to sustainability, community, and social justice as inherent responsibilities of student learning, and prepares students to lead rich and fulfilling lives of engaged global citizenship, working for the common good. Studio art classes at Dickinson stress skill, process, experimentation, and contextual concerns towards the development of a meaningful creative practice. The search committee is committed to building a faculty that reflects our diverse student population in the major, as well as non-major students who represent a large percentage of our studio art and art history courses.

Dickinson College is a highly selective four-year, independent liberal arts college with 2300 students. It is located 20 minutes west of Harrisburg and is a two-hour drive from Baltimore, Washington DC and Philadelphia. The Department of Art & Art History is a combined studio art and art history department with 4 tenured/tenure track and 1 full-time lecturer in studio, and 4 tenured/tenure track faculty and 1 adjunct in art history. Together, the Department fosters a rigorous, critical investigation through active processes of learning in which students connect historical discourse with an engagement of art from multiple perspectives. The Department has excellent studio facilities for teaching and private studios for faculty.

Primary responsibilities include teaching a five-course load per academic year, at all levels, to a mix of majors and non-majors. Course load will include drawing and painting, including at least one section of drawing at the intro-level (focus on observational drawing) per academic year. The position requires the ability to offer additional 2D courses beyond drawing and painting, in either printmaking or digital process. These additional courses can be developed by the candidate based on area of strength, and reflective of curricular demand. Additionally, full-time faculty members rotate the responsibility of teaching a senior studio art seminar with students working across a range of mediums within a contemporary context. Additional programmatic responsibilities include participating in critiques of senior studio art majors, sharing the coordination of visiting artists, and advising students. After year-two, there will be service expectations at the all college level, including the advising of majors and undeclared students, and possible committee service. Upon tenure, service responsibilities will also include department chairing expectations (a three-year rotation among all tenured faculty members in the Department of Art & Art History).

Please visit the 'External Link' below for more information, including a list of required qualifications and application instructions.

On January 13–15, 2022, the Index of Medieval Art (Princeton University), the Pierpont Morgan Library & Museum (New York), and the Department of Art and Archaeology at Princeton University will host a conference to accompany the exhibition, “Imperial Splendor: The Art of the Book in the Holy Roman Empire, 800–1500,” presented at the Morgan Library from October 15, 2021 to January 23, 2022. The conference will include two days of papers as well as a study day at the Morgan Library. For each paper, 30 minutes of speaking time, followed by 15 minutes of discussion, will be allotted. In addition to a viewing of the exhibition, the study day will include an opportunity to view other, unexhibited materials in the Morgan’s collections.

Despite its scope, the exhibition cannot comprehend all the relevant material in American collections. Nor can the accompanying book treat all the exhibited items in depth. With this in mind, we solicit proposals for papers. Pending the usual peer-review process, the contributions will be published.

Paper proposals, no more than one page in length, should fall into one of the following categories or address one of the following topics:

– in-depth monographic discussion of a single manuscript in an American collection, whether or not it is included in the exhibition. Please contact Joshua O’Driscoll (jodriscoll@themorgan.org) for a list of objects that will be discussed in the book accompanying the exhibition (many but not all of which will be exhibited) and a list of all relevant materials in the Morgan Library’s collections. More information on many of these manuscripts, also those in other American collections, can be found at Digital Scriptorium: https://digital-scriptorium.org/.

– thematic treatment of one of a number of broader issues relevant to the exhibition’s concerns; these include but are by no means limited to the following:

Art & the politics of empire

Art & reform/Reformation

Borders of empire

Cosmopolitan contacts and exchanges

Geographic foci (e.g., Helmarshausen, Prague, Salzburg, Weingarten)

Humanism in Central Europe

Imperial patronage

Monastic networks

Manuscript illumination and the other arts

Paper, parchment & pen-drawing/production techniques

Patrician patronage in imperial cities

Panel painting

Psalters

Reception/collecting of German medieval art in the United States

Urbanism & the art of the book

Visualization & the vernacular

Proposals should be submitted to Prof. Jeffrey F. Hamburger, Harvard University (jhamburg@fas.harvard.edu) by February 1, 2021. A response indicating whether or not any given proposal has been accepted will be forthcoming by April 1, 2021. Finalized abstracts, which will be circulated to all participants, would then be due by August 1, 2021. The organizers will do their best to accommodate all relevant proposals within the confines of the program, the scope and format of which will be determined by the funding available and the current public health situation. In the event that an in-person meeting is feasible, speakers’ costs for travel and accommodation in Princeton and New York will be covered. Colleagues submitting proposals are asked to indicate their interest in presenting a paper by video call, should travel not be possible.

Sharpe-Walentas Studio Program residents are selected annually based on merit from a competitive pool of applicants by a professional jury.

The Sharpe-Walentas studios are located in DUMBO, Brooklyn, a thriving waterfront community full of art galleries, creative professionals, and independent retailers. Studios have freight and passenger elevator access, high ceilings and natural light. Communal spaces include a kitchen, slop sinks, restrooms and a sitting area with wi-fi. Studio access is 24 hours/7 days week.


Application Schedule
January 1, 2021: Application available via Slideroom.

February 15, 2021, 11:59PM EST: Application deadline.

May 15, 2021: Awardees informed.

September 2021 – August 2022: Dates of residency.



https://thestudioprogram.com/apply/

The Hartford Art School invites applications for a Tenure Track Assistant/Associate Professor of Printmaking beginning in Fall 2021.

The position requires teaching three courses each semester for all levels of students from First Year Foundations Drawing through Sophomore, Junior and Senior-level Printmaking classes. Expectations include actively and regularly engaging in the Printmaking Department and Art School, extracurricular activities, student advising, committee service, program development, as well as producing a record of creative or research activities that meet tenure requirements. The University of Hartford is an open and welcoming community, which values diversity in all its forms. For this reason, the University aspires to have its faculty and staff reflect the rich diversity of its student body and the Hartford region. Candidates committed to working with diverse populations and conversant in multicultural issues are encouraged to apply.

Ultimately, we are searching for an educator who will foster a collaborative environment that will actively engage students in interdisciplinary activities that reach past the walls of the Printshop, into the Art School, the University, the surrounding communities and beyond. Someone who brings a palpable passion for teaching — someone willing to serve as a mentor, team player and leader — will be the best person to see the Printmaking Department into its next era.

The Printmaking department offers a BFA within Hartford Art School’s comprehensive undergraduate program, which is accredited by the National Association of Schools of Art and Design and renowned for rigorous studio-based and academic programs within a liberal arts university setting. Each of our roughly 300 undergraduate students receive personal attention and mentoring from our dedicated faculty in a wide range of programs, including art history, ceramics, illustration, painting and drawing, photography, printmaking, sculpture, integrated media arts, and visual communication design. A highlight of the Printmaking Department is our Hartford Art School Print Workshop that has been running for over 40 years. The annual workshop invites professional artists into our shop to create work with the assistance of a master printer, students, staff and faculty. In addition, our Kaman Print Study Center houses the prints produced during these workshops, alongside a collection of historical and contemporary works on paper.

Required Qualifications
An MFA in Printmaking (or closely related discipline) at the time of appointment or by August 2021 and a minimum of two years teaching experience at the college level are required. The ideal candidate will also be someone who seeks to create an inclusive and diverse community as an integral part of their pedagogy.A successful applicant will possess an understanding of both contemporary and historical printmaking and have a clear vision for moving the department into the future. The candidate should be able to work in a variety of traditional printmaking media while instructing students in creating a sustainable practice in terms of materials and methods. The Printmaking Program currently creates space for students to deploy a wide range of techniques to create work along a broad spectrum of imagery and content. It is also important that the candidate understand how to operate, maintain and safely utilize all equipment in the printshop. Online teaching experience is a bonus.

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

The Wolfgang Ratjen Award is an annual award for early career research in the field of graphic arts. The prize, funded by the Foundation Wolfgang Ratjen, is curated and presented by CONIVNCTA FLORESCIT Friends of the Zentralinstitut für Kunstgeschichte.

The purpose of this award, which honours the memory of the collector Wolfgang Ratjen (1943-1997), is to encourage younger scholars to address neglected topics and to bring the results of their work to the attention of a broader public.

Consideration will be given to a Ph.D. dissertation, M.A. thesis, or publication, dealing with art historical questions which involve drawings or prints in Western art. Applicants should be graduated. The winning candidate, chosen by an independent committee of scholars, will receive € 6,000, and is expected to spend three months conducting research at the Zentralinstitut für Kunstgeschichte in Munich.

Candidates for the award are requested to send a copy of the research paper in question, along with a curriculum vitae detailing academic qualifications, copies of certificates and a list of publications to: Zentralinstitut für Kunstgeschichte, to the attention of Prof. Dr. Iris Lauterbach, Katharina-von-Bora-Str. 10, 80333 Munich/Germany, fellowships@zikg.eu.

The application deadline is February 28, 2021. Please visit the 'External Link' below for more information.

The Philadelphia Museum of Art seeks to fill the Margaret R. Mainwaring Curatorial Fellowship in the department of Prints, Drawings, and Photographs starting in fall 2021. This is a one-year fellowship with the possibility of renewal for a second year. The Fellow will work independently and collaboratively with staff to gain in-depth curatorial training in the graphic arts and to support scholarly research on the collection. In consultation with the supervising curator, the Fellow will be fully integrated into the department and devote time to both general curatorial work and special projects, including research on new acquisitions and the collections, preparing conditions reports, and organizing gallery rotations and collections-based workshops. The Fellow will have an opportunity to develop an exhibition or other project from the museum’s permanent collection. The ideal candidate will also be able to contribute to ongoing department efforts to expand the geographic, thematic, and public horizons of its research, exhibition, and programming.

The American Historical Print Collectors Society (AHPCS) is once again offering conservation grants to museum institutions and other non-profits seeking to conserve historical prints in their collections. Institutions seeking funding to preserve American historical prints in their collections are invited to submit applications to the American Historical Print Collectors Society for a Wendy Shadwell Print Conservation Grant. The artwork to be treated must be at least one hundred years old and the institution must be a member of the AHPCS. Non-members seeking funding are encouraged to join the Society. For an online membership application form, please go to https://ahpcs.org/membership/

Wendy Joan Shadwell passed away on October 23, 2007. She was a long-time curator at the New-York Historical Society, the author of many scholarly articles, and a past president of the AHPCS. She left a substantial bequest to the American Historical Print Collectors Society to promote interest in American historical prints. An area of special concern to Shadwell was the “Preservation of Early American Prints,” and the board of the AHPCS established the Wendy Shadwell Print Conservation Grant Program to further that aim. Applications are accepted semi-annually with deadlines of March 31st and September 30th.

The goal of the program is multifaceted:

1) To help realize Shadwell’s mandate for the use of the funds for the “Preservation of Early American Prints”

2) To ensure that a few significant prints or works on paper over 100 years old will have a longer life

3) To provide a meaningful and directed impact on actual prints in small institutions that do not have on-site print conservation facilities

4) To have a grant program that is simple, straight forward and not overly bureaucratic

5) To help publicize the AHPCS and the Shadwell Bequest

6) To foster institutional membership

7) To encourage AHPCS members to more actively participate in the organization by being on a jury

For more information, please contact:

Roger Genser, Chair
Shadwell Print Conservation Subcommittee
PO Box 5133
Santa Monica, CA 90409
genserprints@verizon.net

Applications are accepted semi-annually with deadlines of March 31st and September 30th.

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

In 2021 the Lyonel Feininger Gallery in Quedlinburg, the only museum in the world dedicated to the work of the famous Bauhaus master, will celebrate the 150th birthday of its namesake with a large exhibition entitled “Becoming Feininger - Lyonel Feininger for the 150th Birthday” (March 28 to September 12, 2021).

The exhibition and the artist's 'birthday' should be the occasion to collect current research approaches and results on the life and work of Lyonel Feininger and the Feininger family of artists in a symposium planned for July 17, 2021.

The topics of the symposium can be, but are not limited to the following:
- Lyonel Feininger - between the USA and Germany. Breaks and continuities in the work
- Between Cubism and Bauhaus: Stylistic Developments in Lyonel Feininger's Work
- Feininger's works in the art trade during the Weimar Republic
- Bauhaus master and / or artist at the Bauhaus: Lyonel Feininger in Weimar and Dessau
- Lyonel Feininger and his students - From Carl Grossberg to Hermann Klumpp
- Lyonel Feininger's artist friends: Creative exchange and correspondence with Karl Schmidt-Rottluff, Emma Ritter, Alfred Kubin and others
- The artist network of the Julia and Lyonel families and their children
- Art and music: On the relationship between music and the visual arts in Lyonel Feininger's work
- Come back: On the reception of his work in the USA
- Work in progress: master sheets and status prints. The graphic art of Lyonel Feininger

Interested parties are invited to submit their proposal (approx. 400 words) for a lecture in German or English of approx. 30 minutes and a short CV by March 31, 2021. You will receive feedback on the acceptance of your contribution by mid-April. The event is subject to the approval of funds.

Please send your suggestions by email to: David Grube (david.grube @Kulturstiftung-st.de)

As an effort to remedy racial and gender inequity in the art world at large and more specifically in our local printmaking community, the California Society of Printmakers (CSP) is partnering with college level Art History and Printmaking faculty to publish essays on California’s diverse printmaking history. The initial focus will be on California printmakers who are Black, Indigenous, People of Color (BIPOC) and/or female identified.

The primary impetus of this CSP initiative is to bring attention to individuals and collectives who are un- or under- represented in the print world because of their racial, ethnic and/or gender identities, i.e. people who have been overlooked or dismissed because of discrimination. The secondary impetus is to develop academically sound materials on these artists so that their legacies will be further researched and (hopefully) broadly known.

Partner benefits include a new publishing platform and professional research experience for art history and printmaking students and faculty; institutional recognition.

CSP benefits include viable action towards racial and gender parity; extension of CSP’s educational mission. Community benefits include increased awareness of California’s rich and diverse printmakers and their histories.

Parameters:
-Essay length: 1500 – 3000 words
-Artwork images: 5 – 9, photo sources required
-Artist portrait: at least one, artist in studio if available, photo sources required
-Author: If the author is a student, the essay is to be written under faculty supervision. Faculty and institution will be noted with publication.
-Publication platform: CSP Website, News item in CSP newsletter, potential future print publication
-Rights to republish granted to author.
-Stipend of $150 for published essays. We will accept publish ready work only. Payment upon publication.
-Image files: 300 ppi, Adobe RGB, tiff files, smallest dimension 5”, largest dimension 10″
-Author Bio: 100 words
-Style: MLA
-Abstract: required

Note: CSP affiliation is NOT required of authors or subjects.

Interested authors should submit a brief proposal indicating the research subject and why they are of interest; author status (faculty, student) and institution; and expected completion date. Any questions should be sent to website@caprintmakers.org. At this time, we hope to publish 12 essays a year, approximately one per month. Thus, proposals will be reviewed as they come in. We will respond promptly as to whether your proposal fits our program at this time or not.

Please visit the 'External Link' below to access the submission form.