This session will consider bound volumes created or transformed through the incorporation of independently printed images. Inspired by recent scholarship that addresses the popularity of modifying, enhancing, or creating books in this manner, this session will focus on the production and reception of such books between the widespread adoption of the printing press in Europe, circa 1500, and the nineteenth-century rise of public museums and libraries, with their increasingly standardized and discrete organizational systems. Papers may address any books into which independently printed images have been incorporated, whether these books include text and whether they are analyzed as unique items or as products of broader creative or curatorial practices. This session seeks papers that consider both the material and the conceptual aspects of these complex volumes. Themes may include the agendas of specific creators; the codex as a structure and ways in which prints were designed for, or adapted to it; or how these works inform histories of reading, book and print production, or book and print collection. Papers may also address how these books relate to those of earlier centuries. Themes addressing subsequent reception are also welcome. Such themes include interpretive and practical challenges that the books present, and opportunities they offer, to the evolving institutional and media landscapes of the twenty-first century.

Send paper proposals including title, abstract (250 words) and CV by Monday 10 August 2020 to: Jeanne-Marie Musto, Program Committee, Bibliographical Society of America, at musto.jeannemarie@gmail.com.

NB: CAA membership is not required to submit a paper proposal, but is required once proposals are accepted. For more information concerning participation in the CAA 2021 conference, see: http://www.collegeart.org/programs/conference/proposals

In 2021 the Oak Spring Garden Foundation will award our annual Stacy Lloyd III Fellowship for Bibliographic Study to one outstanding early-career scholar, working in some area related to the history, art, and culture of plants, gardens and landscapes. This is our most prestigious award for researchers and scholars in the humanities. The award includes a $10,000 individual grant and requires a two-to-four-week stay at Oak Spring. This fellowship will be granted to an exceptional researcher who is developing a new body of research that would especially benefit from access to Oak Spring’s library.

The individual selected for this award will be asked to spend 2-4 weeks at Oak Spring where they will be able to meet with staff, explore our 700-acre landscape and our efforts in sustainable land management, and visit our rare book library that holds over 19,000 objects, including many examples of botanical art. The Fellow will have ample time and space to work independently on their own projects during their stay. The only requirement during their time at Oak Spring will be to give one 45-minute presentation with time for questions, to Oak Spring staff and any other fellows or residents who might be on site.

Eligibility
Eligible applicants must be early-career researchers completing a terminal degree, or who have completed a terminal degree within the past five years. The selected early-career researcher must be self-directed and able to work independently while on site. Applicants are expected to show exceptional promise with an ability to state how use of Oak Spring’s library will contribute to their research objectives, exceptional promise, good communication skills and excellence in what they have accomplished or plan to accomplish.

Other Information
The selected Fellow should make travel arrangements to Dulles International Airport, where Oak Spring will arrange transportation for them to our estate in Upperville, VA. The Fellow will resident in a nicely appointed, self-catering accommodation during their time at Oak Spring. The fellow will have a private bedroom and bathroom, and share a living room and kitchen.

Selection
A jury of established administrators, scholars or researchers with relevant experience and/or knowledge will review the applicants and select the 2021 Oak Spring Garden Foundation Stacy Lloyd III Fellow for Bibliographic Study.

Application Process
To begin your application, please go to: https://osgf.submittable.com/submit and locate the Stacy Lloyd Fellowship. You will be asked to submit:
-A resume/curriculum vitae (not to exceed two pages),
-A 200–300-word statement on your current research or scholarship,
-A 200 - 300 word statement on how your work relates to Oak Spring Garden Foundation’s mission to “perpetuate and share the gifts of Rachel (“Bunny”) Lambert Mellon, including her residence, garden, estate and the Oak Spring Garden Library, to serve the public interest. OSGF is dedicated to inspiring and facilitating scholarship and public dialogue on the history and future of plants, including the culture of gardens and landscapes and the importance of plants for human well-being,”
-Any and all relevant links/up to 10 pages of writing that demonstrates your research outputs and current scholarly interests.

NOTE: When applying to this fellowship, you will be asked if you are interested in being considered for one of our other residencies, if you are not selected for the fellowship. To learn more about our residences, visit www.osgf.org/residencies.

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

Manhattan Graphics Center is accepting proposals for intermediate to advanced online distance learning coursework for adult learners in subjects related to printmaking and professional development for artists. Coursework can be either synchronous or asynchronous. Preferred subject are: sophisticated, new, or unusual printmaking techniques; professional career-management skills; print theory, critical race theory, queer theory, women’s studies, and printmaking history.  Courses should not require students to have access to a press or harsh chemicals. Submissions will be accepted June 15 – August 15, 2020 for Summer & Fall Terms, July – December 2020.

QUALIFICATIONS and REQUIREMENTS
The course should not be publicly available online through another public print shop’s online course offerings. Instructors must be experienced in teaching at the undergraduate, graduate, or post-graduate level. A graduate degree is preferred. Experience with online instruction is a plus.

FURTHER GUIDELINES
Coursework should relate to printmaking or art practice in a way that deepens the skills and knowledge of an adult, practicing artist. Instructors must have a computer, web camera, and a high-speed internet connection. Instructors will prepare pre-recorded demonstrations, slide shows, and other supplemental materials for the online platform. For synchronous courses, these will be shared and discussed in real time via Zoom meetings. Students will be able to interact in real time with the instructor. For asynchronous courses, the instructor must be willing to provide 2 separate times for office hours throughout the week throughout the course. Instructors must have pre-existing skills with developing video content or digital presentations (slide shows). MGC is not able to provide training or guidance on these matters. 

FORMAT
MGC will provide instructors with a temporary Zoom license. Only one Zoom license can be assigned per email, so if you already have a Zoom account associated with one email address, you will need to provide another email address for the purpose of teaching via MGC. We can offer brief training sessions with delivering the prepared content on the Zoom platform, if needed. 

COMPENSATION
For synchronous courses, instructors will be paid $40 per instructional teaching hour. For asynchronous courses, instructors will split proceeds with MGC 50%/50%. Please note that pricing for these classes will be lower per instruction hour for the student than that for the synchronous courses.

COURSE MATERIALS
For studio courses, please consider that our adult learners may have difficulty obtaining materials.  We anticipate that most students will have limited or no access to a press or harsh chemicals. Many are working from home with limited supplies and equipment.  If supplies are needed, we request that a complete list with vetted sources is provided at least one month in advance of the start of class.

For theory courses, if there will be a required reading list, please provide at least 3 weeks in advance.

​COURSE SESSIONS
Each course will have an online discussion section in our online member forum  “Isolation Art Club” that will allow students and instructors to connect between classes.

​​Asynchronous courses should be 30-45 minutes per session, with 4-10 sessions.

For Synchronous courses:
Classes will be limited to 6 - 10 students
​Sessions will be to 1- 1.5 hours each, 1-2 times per week.
We aim to keep classes to a maximum of 6 sessions.
A minimum enrollment of 3-4 students will be required to run the course​

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

Artist Relief is an emergency initiative organized by the Academy of American Poets, Artadia, Creative Capital, Foundation for Contemporary Arts, MAP Fund, National YoungArts Foundation, and United States Artists—all mid-sized national arts grantmakers that have come together in this unprecedented moment—to distribute $5,000 grants to artists facing dire financial emergencies due to COVID-19; serve as an ongoing informational resource; and co-launch the COVID-19 Impact Survey for Artists and Creative Workers, designed by Americans for the Arts, to better identify and address the needs of artists moving forward.

The fund will operate through September 2020. Grants will be available and distributed over six months to allow time for internal processing as well as communication to reach as many artists as possible, especially those who may not have immediate access to technology or other resources to complete an application quickly. Due to the magnitude of this crisis, we anticipate more requests for funding than there are funds to distribute.

Eligibility
Practicing artists living in all 50 states, Tribal Nations, and territories including American Samoa, Guam, the Northern Mariana Islands, Puerto Rico, and the U.S. Virgin Islands are able to apply. Applicants must be 21 or older, able to receive taxable income in the United States regardless of their citizenship status, and have generally lived and worked in the United States for the last two years. To be eligible, you must be able to answer ”Yes“ to the prompts listed below. Please note that the Artist Relief coalition partners will make final eligibility determinations as needed.

-I am a practicing artist able to demonstrate a sustained commitment to my work, career, and a public audience;
-I am experiencing dire financial emergencies due to the COVID-19 pandemic;
-I am 21 years of age or older;
-I can provide a Social Security Number (SSN) or Individual Taxpayer Identification Number (ITIN) after I’ve been notified of my selection;
-I have been living and working in the U.S. for the last two years;
-I am not a full-time employee, board member, director, officer, or immediate family member of any of the coalition partners;
-I have not previously been awarded a relief grant from this fund

Due to the unprecedented nature of the COVID-19 pandemic, we define ”dire financial emergencies“ as the lack or imminent endangerment of essentials such as housing, medicine, childcare, and food. We are aware that each artist’s needs differ, so ask that you thoroughly and accurately describe your situation. Applicants should demonstrate a pressing and critical need for emergency support.

Remaining Application Cycles
Cycle IV: June 18 - July 22 (closes 11:59pm ET)
Cycle V: July 23 - August 19 (closes 11:59pm ET)

Each cycle, all non-funded applications will be removed from our system so that artists can reapply the following round. This system allows the Artist Relief coalition partners to monitor our capacity as well as maximize each applicant’s opportunity to receive a grant. Additionally, reapplying each cycle allows artists to re-articulate their needs as their circumstances change during this pandemic.

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

Lower East Side Printshop, NY, offers emerging artists FREE year-long studio residencies to develop new work and foster their artistic careers. The application deadline is September 1, 2020 for residencies that begin on October 1, 2020. Printmaking facilities are available for intaglio, relief, monotype, waterbased screenprinting, digital processes, and other techniques that employ the tools at hand.

Keyholders work independently in the Printshop’s shared Artists’ Studio and have access to a vibrant community of peers. Artists from all disciplines are eligible to apply; printmaking skills are not required, but some familiarity with the medium is recommended.

Participation is limited and competitive. Applications are evaluated by a panel of seasoned artists, curators, and art professionals based on the quality of submitted artwork. Emerging artists without a studio are highly encouraged to apply.

Keyholder Residency includes:
• 24/7, one-year access to a shared studio with printmaking facilities
• $1,000 stipend
• Free career development workshops and salons
• Group exhibition opportunities
• Consultation hours with Printshop printers

Eligibility
• Only legal US residents may apply (i.e., Social Security cardholders).
• Students enrolled in any kind of degree program at the time of the residency are not eligible.
• Keyholder Residencies are limited to emerging artists only. The Printshop defines emerging artists as under-recognized and under-represented artists in early stages in their careers.

Application Deadline
September 1, 2020 11:59PM EST

Contact
212-673-5390 or info@printshop.org

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

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.

Tusen Takk’s three to twelve week residencies are geared for accomplished artists to explore new ideas or expand current work that affirms and enriches the human spirit, giving form to chaos and perception to beauty. A residency at Tusen Takk is a time to create; it’s also a time for artists to consider how their work engages with the history of its medium and how it intersects with existential questions of meaning and purpose.

Residency Period: Successful candidates will work with Tusen Takk staff to determine a three- to twelve-week residency period between March and December 2021.

A Tusen Takk Residency Includes:
-An honorarium of $625/week is provided to the artist to help cover residency-related costs including travel, shipping, materials, and day-to-day living expenses
-Housing in the Guesthouse outfitted with two bedrooms, one full bath, two half-baths and a living room/dining room/full kitchen area
-24/7 access to the Guesthouse’s Studios and Foundation Library
-An opportunity to present work in either a private or public setting
-Professional documentation of works and process (if desired)
-Promotion on Tusen Takk’s website and social channels
-Access to Tusen Takk’s staff
-An opportunity to engage with Tusen Takk’s staff, network, and be featured on our social channels beyond the residency period
-Occasional meals shared at the Tusen Takk Main House - note, the vast majority of the time the artist will be doing their own grocery shopping and cooking their own meals in the Guesthouse’s fully equipped kitchen
-To enable self-sufficiency, and because Tusen Takk is located outside of public transportation, taxi and delivery service, the artist will have use of a Tusen Takk vehicle during their stay (with a valid driver’s license)
-Access to the Director Geoffrey’s personal library of over 700 volumes and private collection by appointment

Residency Candidate Qualifications:
-The ability to produce a consistent body of high quality work
-Dedication to their artistic practice with a desire to spend at least 30 hours a week in the studio
-The self-motivation needed to work alone (Unless the residency is to be a collaboration between two people, the vast majority of the time the resident will be living and working in solitude)
-A willingness to engage audiences
-An openness to sharing thoughts on their work, their practice, and their processes through Tusen Takk’s online and printed publications
-Comfortable communicating with Tusen Takk’s English-speaking staff and audiences
-21 or older
-US citizenship or the ability to obtain a US visa (if needed). Most international artists can come on a visitor visa, but certain countries do not participate in the visa waiver program. Since delays can occur, international applicants should be sure to check the visa appointment wait times. Upon offer of a residency, the Tusen Takk Foundation is able to provide letter(s) of invitation.

Program Requirements:
In fulfillment of Tusen Takk’s mission, artists are highly encouraged to engage with the regional arts community when in residence. The context and form of this engagement opportunity are very flexible and can be coordinated with Tusen Takk staff either before or during the residency. Possibilities include a workshop, studio visit, or talk; or a public presentation or performance in collaboration with one of the Foundation’s partner organizations. Tusen Takk welcomes proposals from the artist about engagement ideas they might like to try during their residency here.

Artists should be willing to share their work, processes, and experience with audiences through Tusen Takk’s website, social channels, and printed publications.

In collaboration with the Director, Geoffrey Peckham, artists are asked to donate one work to the Foundation’s collection. Artists are also encouraged to leave behind a book as a contribution to the Foundation’s library for future residents.

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

With the emergence of novel pigments and dyes—some from the New World—prompting myriad experimentation in color and facture, the eighteenth century is widely acknowledged as a turning point for artists’ materials. This panel explores the impact of such innovations on artistic practice across the long eighteenth century. The microcosm of color in art exemplifies larger trends of the period as technological and scientific advances transformed the ways in which color was perceived, described, transmitted, commodified, thematized, and preserved. From furniture and paper makers to aquatint engravers and history painters, artists and artisans were invested in discussions about hue, discoloration, and the impact of time on color. Explorations in alternative mediums such as encaustic and enamel aspired to the most saturated, the most authentic, or the most durable color palettes. Advances in printmaking revolutionized the circulation of chromatic knowledge, including a new understanding of Old Masters through reproductive engravings and the transmission of cultural and botanical information about distant lands. We welcome papers that consider the full spectrum of artistic production and experimentation across the visual arts during this transformational period. Papers considering the science and materials of color, the restoration of historic palettes, or issues of pigmented materials’ change over time are also encouraged.

Proposals should be sent directly to the session chairs no later than September 15, 2020. All participants must be members in good standing of ASECS or of a constituent society of the International Society of Eighteenth-Century Studies. Membership must be current as of December 1, 2020 for inclusion in the program.

Organizers:
Daniella Berman, Institute of Fine Arts, NYU and Metropolitan Museum of Art (daniella.berman@nyu.edu)
Caroline M. Culp, Stanford University and Metropolitan Museum of Art (cmculp@stanford.edu)

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

This roundtable aims to consider print technology as a social media phenomenon in the late seventeenth and early eighteenth century, with its impact on emerging concepts of self and community, public and private, personal and political. Approaches that explore parallels between these early days of print culture and the first twenty years of Internet culture are specifically welcomed. In the transition from the embodied media of oral rhetoric and coterie writing (face to face) to visual (or virtual) self-representation, aimed at a semi-anonymous and unlimited readership, endlessly and silently reproduced, adapted, altered, reconstructed, recontextualized, “construed” and constructed, we can see parallels to many of the issues and anxieties of the internet age. Similar, too, to today’s social media is the blurring of private expression and public self-representation, as well as the instability of the readership between semi-known and fully anonymous. Topics could include visual self-representation in print medium; politicizing the personal (for example, the incivility that marked Augustan print culture); gender dynamics around public and private self-representation (still distressingly relevant); social media fictions generating political fact; the role of newspapers and periodical literature; blurring of private expression with public self-representation in multiple print forms; use of the note and letter, “writing to the moment” in novel and real life.

Organizer
Katherine Quinsey, University of Windsor; (kateq@uwindsor.ca)

Proposals should be sent directly to the session chairs no later than September 15, 2020. All participants must be members in good standing of ASECS or of a constituent society of the International Society of Eighteenth-Century Studies. Membership must be current as of December 1, 2020 for inclusion in the program.

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

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.