Tamarind’s two-part Printer Training Program is designed for students who wish to pursue careers as fine art collaborative printers. This intensive, full-time program concentrates first on strengthening and refining the students’ technical skills, then on the application of those skills to collaborative projects. Prior knowledge of lithography is required. A maximum of eight students will be accepted.

Applications for the 20234Summer Workshop and 2024– 25 Printer Training Program must be received by Monday January 15, 2024.

Please visit the external link for more information.

Submissions are now being accepted for the 6th Annual Ricciardi Prize of $5,000!

The deadline is November 15, 2023.

The award is given to the best new and unpublished article on a drawing topic (of any period) by a scholar under the age of 40. The winning submission will be published in a 2024 issue of Master Drawings.

Please visit the link below for essay requirements. You can also learn about the broad range of research by past winners of the prize. This top honor in the field has made a significant impact on the careers of several awardees who are rising to new levels of professional success.

The Curator-in-Charge, Achenbach Foundation for Graphic Arts position reports to the Director of Curatorial Affairs. The Curator-in-Charge plans and directs the activities of the Achenbach collection, and plans, assigns, and supervises the activities of curatorial staff in the Department. This position works closely with the Director of Museums; Curatorial Staff of other Departments; Exhibitions, Registration, Conservation and Technical Production staff; lenders; collectors; donors; trustees; dealers; and researchers.

Essential Duties:

The essential duties and responsibilities of the position include but are not limited to:

1. Plans and supervises the installation of the Museums' Achenbach collection. Identifies, classifies, and documents works of art in the Achenbach collection.

2. Conducts research in connection with identifying and publicizing objects in the collections. Makes recommendations for acquisitions and deaccessioning. Makes recommendations regarding the loan of the Museums' objects requested by other institutions.

3. Plans and organizes exhibitions. Makes cost estimates, corresponds with lenders, coordinates the installation of exhibitions with other staff, assembles data and photographs, prepares labels, and researches and writes catalogs and brochures.

4. Interprets the Museums' collections and exhibitions, and works with other museum departments to develop public programming and educational initiatives.

5. Consults with conservators and other staff members on the conservation of art objects.

6. Organizes and supervises the work of departmental staff.

7. Corresponds and confers with scholars, specialists, and the public. Works closely with collection support groups.

8. Cultivates donors and constituents for the Achenbach collection.

Application Opening: February 27, 2023

Application Deadline: Open Until Filled

If interested, please click on the "Apply now!" button below for additional information regarding the position and to apply on the City & County of San Francisco career website.

The Association of Print Scholars invites thematic proposals for its sponsored panel at the 112th College Art Association (CAA) Annual Conference to be held in Chicago, IL, February 14–17, 2024.

The APS-sponsored panel may be related to any period, theme, or aspect of print scholarship. We encourage proposals that transcend chronological or geographic boundaries, as well as those that engage current theoretical interests in materialism, archival theory, bibliographic studies, history of ideas, or social history, including feminisms and critical race studies.

If you are interested in chairing a panel, please submit a title and 250-word abstract that describes the subject of your session. Co-chaired proposals are welcome. Once the theme and chair of the panel are selected, the panel will solicit contributors through CAA’s open call. Chair or co-chairs must be members in good standing of APS and CAA.

Submissions should include a 2-page CV and should be sent to caacoordinator@printscholars.org. The deadline for consideration is April 7, 2023.

Thank you and we look forward to your submissions.

The question of color has been at the center of artistic debates at least since the seventeenth century, and it has remained a key issue in the historiography of art. What may be at stake in reconsidering color in its historical dimensions now? Recent research on the issue has gone in two directions. On the one hand, color has been studied as a material substance and a technology. Scholars have documented the relation between technological, industrial, and commercial developments and the quality, range, and availability of pigments and colorants available to artists, manufacturers, and consumers. Another approach has focused on the key role of color in the construction of social, racial, and gender hierarchies. Recent scholarship has revealed the intimate connection between aesthetic debates on chroma and the development of the modern discourse of race. Moreover, the eighteenth century’s feminization of color entangled with the notions of make-up and artifice has been reexamined. Clearly, it is no longer viable to think of color in purely aesthetic, ideologically innocent terms.

This issue of Journal18 aims to consider how the current interest in materiality and the matter of art could be harnessed to alter–enrich, complicate, or challenge–our understanding of the historical functions and social and cultural meanings of color in the long eighteenth century. In what ways may the materialist discussion of color as a substance inflect the account of its ideological and discursive functions? What were the new meanings and effects of color as the physical product and sign of growing global trade networks, colonial and slave economies, and expanding empires? How did colored materials­­––pigments, dyes, feathers, shells, minerals––serve as tools of hybridity and a means to delineate cultural difference? Can color’s inherent capacity for infinite nuance offer modern art historians alternative lenses onto to the past? We welcome papers that are attuned to color’s mobility, look beyond Western Europe, and decentralize Euro-centric narratives. We are especially interested in papers that consider the broader methodological questions raised by their subject and seek to develop tools to address the urgent issues posed by color.

Issue Editors
Ewa Lajer-Burcharth, Harvard University
Thea Goldring, Harvard University

Proposals for issue #17 Color are now being accepted. Deadline for proposals: April 1, 2023.

To submit a proposal, send an abstract (250 words) and brief biography to the following three addresses: editor@journal18.org, burchart@fas.harvard.edu, and tgoldring@g.harvard.edu. Articles should not exceed 6000 words (including footnotes) and will be due by September 1, 2023. For further details on submission and Journal18 house style, see Information for Authors.

The 2023 Bloom Residency is the 3rd annual Artist-In-Residence opportunity at Chicago Printmakers Collaborative (CPC)! Awarded to a woman of color, one applicant will be chosen for this two week, project-based residency, culminating in the creation of a limited edition print with the support of CPC.

The 2023 cycle of the residency will take place between August 13th and August 27th. Applications for the 2023 Bloom Residency are due April 1, 2023. Recipients will be notified no later than May 15.

The 2023 Bloom Scholarship is an application-based opportunity which provides one selected artist free tuition for a summer class at Chicago Printmakers Collaborative (CPC)! Awarded to a woman of color located in the Chicago area, one applicant will be chosen for this scholarship opportunity to gain a free course in any medium offered of their choosing to learn a printmaking process and expand their practice.

The 2023 cycle of the scholarship will take place during the summer months. Applications for the 2023 Bloom Residency are due April 1, 2023. Recipients will be notified no later than May 1 and must make their course selection by May 15.

The Historians of Eighteenth-Century Art and Architecture are delighted to announce that the Call for Papers for “HECAA@30: Environments, Materials, and Futures in the Eighteenth Century” is now available. Please visit the link below for a list of open sessions and details. Applications for participation are due to session chairs by April 1, 2023.

This in-person conference will take place in Boston, Cambridge, and Providence from October 12-14, 2023, with morning plenary sessions followed by gallery sessions, tours, and architectural site visits each afternoon.

On the land of the Massachusett and neighboring Wampanoag and Nipmuc peoples, Boston developed in the eighteenth century as a major colonized and colonizing site. Its status today as a cultural and intellectual hub is shaped by that context, making it a critical location to trace the cultural legacies of racism and social injustice between the eighteenth century and today. For whom is “eighteenth-century art and architecture” a useful category? What eighteenth-century materials, spaces, and images offer tools or concepts for shaping our collective futures? In considering these questions, we aim to expand HECAA’s traditional focus on Western European art and architecture and specifically encourage proposals from scholars working on Asia, Africa and the African diaspora, Indigenous cultures, and the Islamic world.

We welcome proposals for contributions to panels, gallery sessions, roundtables, and workshops. Scholars at any career stage, and all geographic and material specializations, are encouraged to apply. We look forward to seeing you in Boston!

The department of Prints, Drawings, and Photographs invites applications for the Suzanne Andrée Curatorial Fellowship. The endowed fellowship serves as preparation for an advanced career in a museum, providing professional mentorship and extensive firsthand experience with curatorial work in the graphic arts. Reporting to the head of the department, the fellow is a fully integrated member of PDP, providing input and support in areas relating to the interpretation, care, display, and growth of the PMA’s collection of over 162,000 works on paper, which range from the fifteenth century to Contemporary. In addition, fellows have the opportunity to organize workshops related to their research.

This is a full-time one-year fellowship, with the possibility for renewal for a second year.
Salary range: $45,000-$50,000, commensurate with education and experience, and a competitive benefits package: https://postdocs.yale.edu/postdocs/benefits
Position Focus:
Reporting to the Curators of Prints and Drawings at the Yale University Art Gallery, the Florence B. Selden Fellow will supervise the department’s active study room and act as the primary liaison between the department and faculty teaching from the collections of works on paper. The Selden Fellow will prepare and follow through to publication the annual list of the department’s acquisitions on the Gallery’s website, conduct scholarly research to catalogue new acquisitions, answer queries about the collection, and interact with scholars, students, and the public on matters concerning the collection. The Selden Fellow will have the opportunity to propose acquisitions, conduct independent research, and assist with special exhibitions and permanent gallery installations. We welcome and encourage applications from individuals of all backgrounds interested in working in the prints and drawings curatorial field.
Interested and qualified candidates must include the following documents with their application: cover letter describing career goals and why this position is of particular interest; CV; graduate transcript; an example of recent written research (maximum 2 pages); names and contact information of three references (letters not necessary).
Deadline for receipt of applications is March 31, 2023.

Please see here for more information:
https://postdocs.yale.edu/florence-b-selden-fellow-department-prints-and-drawings-yale-university-art-gallery