The Ozama and Orinoco rivers span an area in the Caribbean with highly diffuse narratives on art produced and consumed during Spanish colonial rule. This is especially the case for the post-Contact centuries, when the empire’s gaze turns to New Spain and Peru. The Ozama River, bisecting the city of Santo Domingo, staged the first European incursions into the Americas; the Orinoco River, spreading across northern South America, channeled arrivals into the mainland.
The Spanish Caribbean basin is a distinct, yet integral part of Latin America; encompassing the Atlantic coasts of Mexico and Central America, and the northern rim of South America. Studies have focused on regional clearinghouses such as the Viceroyalty of New Granada, or punctual sites such as El Cobre in Cuba. However, there is a need to cast a steady and comparative glance that articulates regional particularities and dynamic exchange.

This session examines issues that have informed scholarly debate on the arts of Spanish colonies, i.e., the Amerindian legacy; artistic training; the Bourbon reforms; Afro-creole cosmographies. Our goal is to map the visual and material economy of the region in the 18th century, under the framework of imperial Spain, as an area with a historically overlooked population of free and enslaved people of color, with rurality and dispersion as common denominators.

Abstracts may address:
- Free pueblos
- Botanical and map-making expeditions
- Manuscripts and print culture
- Religious art and praxis
- The Enlightenment and knowledge regimes
- The Seven Year’s War, Haiti, and The Age of Revolution
- Art collecting and patronage

Session Chair:
Jennifer A Baez, Florida State University (baez.jennifer@gmail.com)

In order to submit your proposal, please send the following via email to the session chair before Wednesday, September 16, 2020:
- Completed proposal form
- A shortened CV (close to 2 pages)
- (Optional) Documentation of work when appropriate, limit to five images as a single PDF, especially for sessions in which artists might discuss their own practice.

Please note that a paper that has been published previously or presented at another scholarly conference may not be delivered at the CAA Annual Conference. Additional FAQs can be found here:
https://www.collegeart.org/programs/conference/FAQ

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

The Association of Print Scholars seeks a highly organized, collegial, and efficient project assistant to support the development of two workshops for early career curators of prints and drawings scheduled for June 2021 and May 2022.

Under the supervision of the President of the Association of Print Scholars and Workshop Coordinators, the Project Assistant will work remotely, but is expected to maintain frequent and timely communication via email and occasional teleconference meetings.

The Project Assistant will perform a variety of complex administrative/support duties; manage communication with internal and external stakeholders; provide logistical oversight supporting activities and planning related to the workshop; and assist with filing and reporting of data following each workshop.

Roles and Responsibilities:
• Provides administrative and logistical support to APS Officers.
• Organizes and implements administrative systems and procedures, including ensuring adherence to the workflow and project timeline as defined by APS leadership.
• Manages the logistics of the participant application and selection process. Produces a spreadsheet as a tool for selection and metrics for funder.
• First point of contact for external inquiries related to the workshops, consulting with APS leadership, as needed.
• Coordinates cohort logistics (e.g., assembles digital course syllabus & orientation packets, documentation for stipend disbursement, travel arrangements, visa applications, catering, etc.)
• Provides administrative and logistical support for workshop activities including, but not limited to: marketing and outreach; scheduling preparatory meetings; completing and submitting required invoices/forms; coordinating with internal and external departments to ensure activities are executed efficiently.
• Serves as remote liaison for APS leadership to assist with emergent troubleshooting while they are on-site conducting each workshop.
• Liaises with external parties to coordinate logistics, including: guest instructor travel and accommodation, contracts and documentation needed for payment of honoraria, confirming dates, compiling relevant forms.
• Gathers and maintains data, surveys, participant information related to the workshop for grant reports to be prepared by APS leadership.
• May compose, proofread, edit and prepare correspondence, reports and other materials using word processing, spreadsheets and/or databases.
• Performs extremely accurate and timely financial processing and reconciliation for bill payment, invoices and receipts.

This is a temporary part-time non-benefitted position, with an hourly wage of $27. The term is 11 months [two 5.5 month terms, from January 2021 - June 2021 and December 2021 - May 2022]. Applicants can apply for either session, however, preference will be given to an applicant who can complete both terms. Please be sure to note your availability in your cover letter.

Note that this position will require flexibility in terms of schedule, which will not be consistent and may include some weekend hours and/or evening communication. Therefore, the ideal candidate must be reliable when working independently to abide by the hours allotted, as well as provide meticulous reporting of time worked to APS leadership on a bi-weekly basis.

Qualifications:
• Minimum of 3 years of related high-level administrative support and large-scale event planning experience.
• Bachelor’s degree strongly preferred.
• Exceptional organizational skills and adaptability will be essential to success in this position.
• Ability to multi-task and maintain a positive, helpful attitude.
• Interest in museums, art, or printmaking is helpful, but not required.
• Proficient in relevant software (i.e. MS Office, G Suite, Adobe Suite, Quickbooks).
• Excellent written and verbal communication skills.

Please apply by sending a resume, cover letter and contact information of two references to workshops@printscholars.org.

New Orleans Community Printshop is a collectively-run nonprofit community art space specializing in printmaking and black and white darkroom photography.

We are excited to announce our inaugural Emerging Black Artist Residency. The residency welcomes emerging Black artists born or raised in New Orleans, with an existing art practice, who are interested in incorporating silk screen, or screen printing, into their work.

This Residency is meant to provide access to new skills and a new medium for committed artists. Successful applicants do not need any prior knowledge of screen printing, but should be prepared to spend several hours a week learning and creating during the residency.

The Residency will provide a $1,000 stipend per resident, printmaking materials and training, a professional custom framed print of their final piece, and takeover of the shop’s IG page for one week to further showcase their work.

Residency slots are open in October and November of 2020, and in January and February of 2021. One of the finished prints will be hung in the Printshop Gallery, and the artist will have the opportunity to showcase their work on the Printshop social media.

Applications close September 30, 2020. Artists will be notified by October 7, 2020.

This Residency is made possible thanks to the Impact Grant.

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

Depuis quelques décennies, les humanités anglophones ont intégré le concept de print culture ou « culture de l’imprimé », autour duquel s’est épanoui un écosystème de domaines d’études tels que les jeunes periodical studies. Employée en 1979 par Elizabeth Eisenstein dans son texte fondateur, The Printing Press as an Agent of Change, l’expression désignait avant tout un rapport nouveau au texte, rendu disséminable à grande échelle par le développement de l’imprimerie, et source supposée d’une transformation radicale de la civilisation occidentale. Cependant, comme ont pu le souligner les historiens du livre français depuis les années 1980, annonciateurs des travaux les plus récents consacrés à la littérature populaire ou à la culture matérielle, l’imprimé est loin d’être réductible au livre, de fait minoritaire, mais englobe un ensemble vaste d’objets éphémères ou périodiques, d’affiches, d’images, de pamphlets, de billets, qui tous génèrent leurs propres usages, leurs propres pratiques, et contribuent à modifier profondément les perceptions du temps et de l’espace et les représentations du monde. La culture de l’imprimé est indissociable de l’entrée dans la modernité médiatique, et c’est en particulier le cas des pratiques et des usages qui se développent à la fin du XIXe siècle autour de nouveaux objets imprimés en masse, produits de l’industrialisation et de la mise au point de nouvelles techniques de reproduction, de la litho- et chromolithographie à l’offset.

Dans le sillage de réflexions sur la culture matérielle en archéologie et en anthropologie, les chercheurs et chercheuses en culture visuelle et en histoire de l’art s’interrogent de plus en plus sur les pratiques de l’ordinaire et les formes visuelles du quotidien. On observe ainsi récemment une rencontre des études littéraires, des études médiatiques et des études visuelles autour de la question de l’imprimé comme élément central de nos cultures matérielles modernes et contemporaines. Cependant, dans les faits, les contacts sont rares entre ces disciplines. C’est pourquoi cette journée d’étude se propose de fédérer les chercheurs, chercheuses et étudiant·e·s francophones dont les travaux portent sur des objets, textuels ou iconiques, imprimés entre la décennie 1840 et la fin de l’entre-deux-guerres, c’est-à-dire entre l’ère de l’explosion des imprimés bon marché en Europe et l’aboutissement de l’entrée en culture de masse d’une large portion de l’Occident ; sur leurs modes de production, les valeurs qui leur sont attachées, les usages et les pratiques qu’ils produisent ou dans lesquels ils s’insèrent. Une attention particulière pourra ainsi être accordée au graphisme, aux caractéristiques typographiques, aux supports et aux techniques d’impression. Seront attendues avant tout, des contributions qui mettront l’accent sur des problématiques innovantes et peu traitées jusqu’à présent par la recherche sur la culture de l’imprimé, sans limitation géographique, en particulier sur des objets à la marge de la définition dominante de l’imprimé, populaires, vernaculaires, mineurs, subversifs (imprimés publicitaires et commerciaux, petite imagerie, tracts politiques, publications clandestines, pornographie…) ; et sur des usages et pratiques de l’imprimé minoritaires ou alternatives, tant du côté de la production que de la réception.

Les propositions (300 mots) pour des interventions de 20 minutes devront être envoyées à nathalie.sebayashi@ehess.fr et laura.truxa@ehess.fr avant le 30 septembre 2020. Les contributions de jeunes chercheurs et chercheuses, en particulier de doctorant·e·s et de masterant·e·s, sont les bienvenues.

Applications are available now online for the 2021/2022 Residential Grants and Fellowships at the Getty Research Institute, including Getty Scholar Grants and Pre- and Postdoctoral Fellowships.

Applicants are invited to address the future theme:

The Fragment (Research Institute)
The 2021/2022 academic year at the Getty Research Institute will continue the theme of the fragment. Issues regarding the fragment have been present since the beginning of art history and archaeology. Many objects of study survive in physically fragmented forms, and any object, artwork, or structure may be conceived of as a fragment of a broader cultural context.

As such, fragments catalyze the investigative process of scholarship and the fundamental acts of the historian: conservation, reconstruction, and interpretation. The evolution of an object—its material and semiotic changes across time, space, and cultures—can offer insights into the ethics and technologies of restoration, tastes for incompleteness or completeness, politics of collection and display, and production of art historical knowledge.

While the fragment has been described as the central metaphor of modernity and the paradigmatic sign of a contemporary worldview, its history as a trope runs much deeper. Cultures of the fragment have flourished throughout history under such guises as the reuse of architectural parts and the cult of relics, the physical and conceptual image-breakings of iconoclasm, and the aesthetics of repair. Fragmentation can occur through artistic processes, acts of destruction, or forces of nature. It can be willful, accidental, or inevitable, but it is necessarily transformative.

Applicants are invited to address both the creation and reception of fragments, their mutability and mobility, and their valuation and consequence throughout history. Particularly in the era of COVID-19, scholars may reflect on the nature of knowledge altogether, that it is always incomplete, contingent, and fragmentary.

Note: Residencies are contingent upon the state of the international pandemic.

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

The emergence of critical race theory in legal scholarship and beyond demonstrated the systemic racism that structures American society based on white privilege and the legacy of white supremacy. In art history and visual culture, critical race theory has revealed the racist structures within the discipline and its institutions. This new fellowship aims to support scholars who are working with critical race theory to integrate and reimagine new art histories while also engaging with the structural racism that has informed and built the discipline.

About Clark Fellowships
Fellowships are awarded every year to established and promising scholars with the aim of fostering a critical commitment to inquiry in the theory, history, and interpretation of art and visual culture. As part of our commitment to fostering diverse engagements with the visual arts, RAP particularly seeks to elevate constituencies, subjects, and methods that have historically been underrepresented in the discipline. These fellowships are intended to nurture a variety of disciplinary approaches and support new voices in art history.

Guidelines for Application
Scholars may propose topics that relate to the visual arts, their history, practice, theory, or interpretation. Any proposal that contributes to understanding the nature of artistic activity and the intellectual, social, and cultural worlds with which it is connected is welcome. Attention will be given to proposals that promise to deepen, transform, or challenge those methods currently practiced within art history or that have the prospect of enhancing an understanding of the role of images in other disciplines in the humanities.

Applicants are required to complete an online application form. All materials must be submitted in English.

All application materials must be received by October 15, 2020.

For information about eligibility, funding, housing, and to access the application, please visit the 'External Link' below.

The Berea College Art and Art History Department seeks a full-time, tenure track faculty member for the position of Assistant Professor of Printmaking, beginning August 2021. This hire will teach 6 classes per academic year, usually a 3-3, that includes a 2D design course grounded in printmaking and all levels of intermediate and advanced printmaking. Teaching special topics courses and participation in Berea College’s liberal arts focused general education program will rotate in the hire’s annual schedule. An MFA in studio art with significant study in printmaking, an active exhibition record, and multiple years of college-level teaching experience are desirable.

­A successful candidate must be able to run and maintain the printmaking studio, inform and engage undergraduate students of varying levels of artistic experience and interests, and teach both traditional and non-traditional printmaking methods. An interest in working collaboratively within an integrated studio-art and art history program and be committed to actively supporting a diverse community amongst students, faculty, and staff is critical. We are looking for well-rounded candidates, preferably those with a comprehensive understanding of 2D design, strong technical skill in drawing, and the ability to teach both traditional and non-traditional (including digital) printmaking methods. This hire will be supplied with professional studio space, access to teaching equipment, and professional development funding. Teaching excellence, creative research and an exhibition record, mentoring, and service to the College and Department are expectations for tenure. Successful candidates will, through their teaching, scholarship or service, demonstrate a commitment to building a diverse community.

This position represents a significant and exciting step for Berea College with the new full-time position responsible for developing the Printmaking Area. We are open to the Printmaking curriculum going in a wide range of directions based on the expertise and interests of the future faculty-member, including methods and traditions that have not been emphasized or taught previously at Berea College.

Application materials should include a unique letter of application that specifically addresses the aforementioned qualities of a successful candidate and answers the question of ‘why Berea College;’ a curriculum vitae; 15 images of the candidate’s studio art with supporting descriptions in a single PDF; an artist statement; 15 images of student examples of the candidate’s teaching with supporting descriptions (including course levels) in a single PDF; a studio teaching statement; unofficial undergraduate and graduate transcripts; and three (3) recommendation letters to be submitted by the recommender.

Review of completed applications will begin October 19, 2020 and will continue until the position is filled. Please contact Professor Lisa L. Kriner at lisa_kriner@berea.edu or 859-985-3547 with any related questions.

NCSA invites proposals for papers, panels, roundtables, and special sessions that explore our theme of Discovery in the long nineteenth century (1789-1914). As an interdisciplinary organization, we particularly seek papers by scholars working in art/architecture/visual studies, cultural studies, economics, gender and sexuality, history (including history of the book), language and literature, law and politics, musicology, philosophy, and science (and the history of science).

In light of the many changes in pedagogy, research, and the exchange of ideas we have all experienced this past year, we particularly welcome papers, panels, or roundtable topics that address discoveries in the use of technology for nineteenth-century studies and teaching.

Papers might discuss uncovering lost cities, recovering forgotten manuscripts, or discovering new ways of thinking about aesthetic and historical periods. Scholars might explore the physical recovery of the past (archeology, geology), but also intellectual recovery as old ideas become new (evolution, neoclassicism, socialism, spiritualism). Papers might discuss publicizing discoveries (periodicals, lectures) or exhibiting discoveries (museums, world’s fairs, exhibitions). Other topics might include rediscovering and revisiting the period: teaching the nineteenth century, editing primary texts, and working toward diversity and social justice in the humanities.

Proposal Submissions
Send one-page CVs and 250-word abstracts for 15-minute papers by October 31, 2020 to: ncsa2021@gmail.com

We also welcome proposals for panels and round tables, which should include a brief overview of the session, as well as participants’ abstracts and CVs. Note that submission of a proposal constitutes a commitment to participate if accepted. Presenters will be notified in November 2020.

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

The artist Dacos (1940-2012) played a major role in the defense and promotion of the art of printmaking in his Liège and beyond. In close collaboration with the family of the artist, the City of Liège seeks to stimulate artistic creation by awarding the triennial Dacos Prize to a contemporary intaglio printmaker (35 years of age or younger).

Contest entry is free and open internationally. The prize is an amount of € 2,500.

The deadline for entry is November 1, 2020.

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

The Morgan Library & Museum is excited to share this opportunity from Master Drawings, who is now accepting submissions for the 3rd Annual Ricciardi Prize of $5,000! The deadline is November 15, 2020.

The award is given to the best new and unpublished article on a drawings topic (of any period) by a scholar under the age of 40. The winning submission will be published in a 2021 issue of Master Drawings.

The most recent prize winner’s work will appear in the summer 2020 issue of Master Drawings.

Please visit the 'External Link' below for information about essay requirements and how to apply.