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

Publishing an article in a scholarly journal requires a different approach than preparing a seminar paper or drafting a dissertation chapter. Join the Editorial Board of the journal Master Drawings for a workshop on how to develop a publication-worthy submission and learn strategies for translating your research into article format so it can reach a broader audience. A series of presentations will be followed by an interactive session in which participants will be divided into smaller groups to work closely with one of the journal’s editors.

The course takes place Wednesday, April 22, 2020 from 2:00 to 5:00 pm at the Morgan Library & Museum.

This seminar is open to recent Ph.D. recipients and advanced graduate students in the history of art whose work focuses on drawings. Only 20 participants will be selected for this program. The afternoon includes a catered coffee break between sessions.

Interested participants are kindly invited to submit a one paragraph statement, which should include the following:
• Name and email
• Academic institution, class year, and field of study
• Interest in drawings
• Reason/s for wanting to participate in the seminar

Application Deadline: March 2, 2020. Applications should be submitted electronically with the subject header “Writing Seminar” to: administrator@masterdrawings.org.

Participants will be notified by April 1, 2020.

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

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.

The Assistant Conservator of Works of Art on Paper is responsible for the conservation and preservation of works of art on paper in the museum’s collection, in accordance with the AIC code of ethics. This includes the examination, documentation, and treatment of prints and drawings and assists with related collections such as: manuscripts on parchment and vellum, Islamic and Indian paintings on paper and palm leaves and Portrait Miniatures. S/he participates in all activities in the paper lab including the examination and documentation of prints and drawings and related collections to determine materials and methods of fabrication and assess condition. S/he is responsible for determining if treatment is required, making treatment recommendations, and carrying out conservation treatments. S/he leads individual treatment and research initiatives and contributes to collaborative efforts led by the Head of Lab and/or the Chairman, Department of Conservation that will further conservation and technical art historical research at the Museum of Fine Arts, Houston.

Please visit the 'External Link' below for the full description of position requirements, responsibilities, benefits, and contact information for submitting an application.

Curatorial Assistant, Prints and Drawings
Reports To: Associate Curator, Prints and Drawings
Full-Time, Regular, Exempt, 35 hrs/week; salary commensurate with Experience and Education
Benefits: Group Medical and Dental Insurance, Life and Long Term Disability Insurance, Retirement Plan, Flexible Spending Plans, Paid Time Off, Reserve Time Off, Holiday Pay, Museum Membership and Discounts
Work Schedule: Monday – Friday, 9am – 5pm in the Beck Building, a non-smoking facility

Responsibilities:
- Assists Curator in any/all of the department’s varied activities including but not limited to
the care of the collection, exhibitions, acquisitions, publications, patron group, and any
other projects
- Prepares PowerPoint presentations for monthly subcommittee meetings (September
through June)
- Primary duties include on-going research of works in the collection (ranging from art
historical to conservation issues); maintaining collection files; liaising with and
disseminating information to other departments; writing catalogue; didactic, and label
copy; tracking interdepartmental needs and responsibilities for collection rotations, infocus exhibitions, and special exhibitions
- Additional duties include research of new acquisition proposals and special exhibitions
- Assists manager of Works on Paper Study Center; assists scholars and actively lead
discussions for school groups during appointments
- Supervises department’s interns and volunteers
- General duties include proofreading, distributing and updating collection and/or
exhibitions lists, preparing loan letters, coordinating photography and instructions for
framing permanent collection
- Digital content manager for department’s webpage
- Assist with cataloguing department’s collection and maintaining data standards in TMS
Skills, Knowledge and Abilities:
- Broad knowledge of art history, with an interest in Modern and Contemporary Art
- Thorough knowledge of printmaking and drawing techniques
- Experience with cataloging objects and data entry in collection management database
- Advanced research skills and clear, lucid writing style
- Ability to learn collection storage system and be able to lift boxes weighing up to 25
pounds
- Strong organizational and computer skills
- Experience with collection management database TMS or similar program preferred
- Reading knowledge of 1 or more foreign languages
The Museum is an equal opportunity employer dedicated to a policy of nondiscrimination in employment without regard to race,
creed, color, age, gender, gender identity, sexual orientation, religion, national origin, genetic information, disability, or protected
veteran status. For more information, visit our website at http://mfah.org/about/careers/.

Education and Experience:
- M.A. in Art History required
- Previous museum experience, minimum 2 years

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

Disaster, understood broadly and in its many forms, elicits artistic production in response—often under the guise of catharsis, historical record, utopian/dystopian futures, or a mode of resistance. In the context of the United States, artistic response in the midst or wake of crisis is now recognized as crucial at a governmental level. In 2017 the U.S. Department of Arts and Culture produced a guide entitled ​“Art Became the Oxygen: An Artistic Response Guide” arguing that creative response to natural disasters and social emergencies is imperative in proposing the possibility of futures. Amelia Brown writes about contemporary “​emergency arts,​” or the combination of artistic practice, community development, and emergency management. Historic examples are geographically, culturally, and materially diverse; they range from Japan’s many Buddhist objects created in anticipation of a spiritual crisis in the mid-eleventh century to the work of Käthe Kollwitz, who graphically depicted scenes representing the horrors of modern warfare in World War I and its aftermath. These works, among others, remain moving and relevant to this day.

This symposium seeks papers that deal with art in response to disaster and/or subsequent responses from a variety of global and period contexts. Topics include but are not limited to research on artistic response, relief, and/or resistance, such as:

– Apocalyptic visions or imaginings
– Ecological or natural disaster (weather events, climate change, epidemics)
– Man-made disaster (war, oppressive regimes/legislature, nuclear crisis)
– Migrations, diasporas, land dispossession, precarity
– Ongoing social disaster (racism, violence, displacement)
– Personal/interpersonal trauma and disasterApplicants should submit a paper title, an abstract of no more than 300 words, and a current CV as a single PDF to ​umichsymposium@gmail.com​.

The deadline for submissions is Saturday, March 15, 2020.

Selected speakers will be notified on Monday, March 30, 2020, and are expected to accept or decline the offer within one week of notification. Papers should be 20 minutes in length and will be followed by a question and answer session.

The Morgan Library & Museum is pleased to announce the Center for Spain in America (CSA) Fellowship in the Department of Drawings and Prints. In 2021, the Morgan and the Biblioteca Nacional de España (BNE) will co-organize a pair of exhibitions: the Morgan’s collection of Spanish drawings will be shown in Madrid, and the highlights of the BNE collection of Spanish drawings will be exhibited in New York. In conjunction with these projects, the CSA Fellow will primarily serve as co-author for the catalogue of Spanish drawings from the Morgan (writing and editing to be completed by the beginning of 2021), and secondarily work on the exhibition of the BNE drawings in New York. The fellowship is designed to provide an intensive scholarly, professional, and international experience through the Department of Drawings and Prints at the Morgan, under the guidance of department head John Marciari. The CSA will provide support for the fellow as well as the related publication. The fellow is anticipated to be in residence at the Morgan from early summer 2020 through the opening of the exhibition at the Morgan in February 2021.

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 Spanish
• A demonstrated commitment to scholarship in the history of Spanish art before 1900, with a particular emphasis on 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. Preference will be given to applicants intending to pursue a career in curatorial work.

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

Deadline for applications: March 15, 2020

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

The Philadelphia Museum of Art seeks a motivated and enthusiastic individual for the Suzanne Andrée Curatorial Fellowship, a one-year position beginning at the start of the 2020-2021 academic year with the possibility of renewal for a second year. The Fellowship provides extensive firsthand experience with curatorial work in the graphic arts and is intended to serve as preparation for an advanced career in a museum department. The position involves object-related research and cataloguing, assisting curators with preparations for upcoming major projects, new acquisitions, and loan requests, as well as tasks related to collections management and assessment. In addition to organizing gallery rotations and workshops, fellows have the opportunity to develop an exhibition 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 position includes a travel stipend and benefits.

Specifically, you will:
-Supervise the Abigail Rebecca Cohen Study Room, including scheduling and outreach, art movement, oversight of class visits and individual appointments, and coordination of presentations
-Research and catalogue the collection and complete project assignments related to curatorial functions as assigned by curatorial staff
-Perform a variety of departmental administrative tasks as needed

Your background and experience include:
-A Master’s degree in art history (required)
-A demonstrated commitment to scholarship in art history
-An ability to work collaboratively
-An ability to multi-task and negotiate competing priorities while managing longer-term assignments
-Prior experience in a museum environment or similar art institution

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

«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).