Master Drawings is now accepting submissions for the Fifth Annual Ricciardi Prize for Young Scholars. The winner will receive a cash award of $5,000.

The prize is given for the best new and unpublished article on drawings (of any period) by a scholar under the age of 40. The winning submission will be published in a 2023 issue of Master Drawings and will be featured at our annual symposium.

Prize
$5,000 for the best new and unpublished article on a drawings topic (of any period) by a scholar under the age of 40. Please include a current c.v. or resume as well as birth date. Read here about past winners and finalists.

Length
The average length is between 2,500 and 3,750 words, with five to twenty illustrations. Submissions should be no longer than 10,000 words and have no more than 100 footnotes.

Format
Please note that all submissions must be in article form, following the format of the journal. We will not consider submissions of seminar papers, dissertation chapters, or other written material that has not been adapted into the format of a journal article. Written material that has been previously published, or is scheduled for future publication, will not be eligible. Articles may be submitted in any language.

We are inviting the first round of submissions to the newly founded Belvedere Research Journal (BRJ), a peer-reviewed, open access e-journal. We seek articles that shed new light on the visual culture of the former Habsburg Empire and Central Europe broadly defined from the medieval period to the present day. We especially welcome contributions that situate Austrian art practices within the broader international context. Moreover, we are interested in innovative approaches to art history, such as the decentralization of established narratives or the investigation of transnational transfers that reveal the interconnected and cross-cultural character of the art world. Finally, the BRJ seeks contributions that draw attention to artists and agents whose activities have previously been overlooked, especially women. We support interdisciplinary research that introduces novel theoretical approaches by combining art history with methodologies from other disciplines, such as the digital humanities, social sciences and cultural economics among others.

Each issue of the BRJ will consist of up to ten articles and provides two different publication formats: research articles (between 20,000 and 50,000 characters, incl. endnotes and spaces) that will undergo strict double-blind peer-review, and discoveries (approximately 15,000 characters, incl. endnotes and spaces) which are subject to editorial review and are directly focused on works in the Belvedere collection (https://sammlung.belvedere.at/). In addition to established scholars, we aim to involve early career researchers, including PhD students.

After the first issue, which has a submission deadline of Sept. 30, 2022, the BRJ will accept manuscripts on a rolling basis. The language of publication is English, with the BRJ arranging translation for accepted manuscripts. All articles receive professional copy-editing and appear in an open annual issue immediately after their final acceptance (running from Jan. 1 to Dec. 31). The BRJ manages the acquisition of image rights. We do not charge any article processing charges (APC).

Accepted submissions will be published under the Creative Commons License CC BY 4.0. The copyright remains with the author(s).

The editors welcome informal enquiries regarding potential proposals. Articles and enquiries should be sent to: journal@belvedere.at. For further information, please see the website of our journal: https://journals.ub.uni-heidelberg.de/index.php/brj/index

Managing Editor: Christian Huemer (Belvedere, Vienna)

Editors: Johanna Aufreiter, Anna Ewa Dyrko, Anna-Marie Kroupová (Belvedere, Vienna)

Editorial Board: Éva Forgács (Art Center College of Design, Pasadena), Ivan Gerát (Slovak Academy of Sciences), Julie M. Johnson (University of Texas at San Antonio), Eva Kernbauer (University of Applied Arts Vienna), Lukas Madersbacher (University of Innsbruck), Nicholas Sawicki (Lehigh University, Pennsylvania), Matthew Rampley (Masaryk University, Brno), Mirjana Repanić-Braun (Institute of Art History, Zagreb), Werner Telesko (Austrian Academy of Sciences, Vienna), Markéta Theinhardt (Sorbonne University, Paris), Anselm Wagner (Graz University of Technology)

The journal is published in collaboration with arthistoricum.net / Heidelberg University Library.

For more details, see external link.

Bonhams New York is looking for a Cataloguer for its Prints and Multiples department.

Responsibilities include the following:
• Own and oversee full cycle pre-and post-sale administration for the Prints and Multiples department
• Catalogue incoming property for sale and oversee photography of each item, liaising with artist foundations to obtain reproduction permissions
• Work with the Marketing department to meet advertising deadlines
• Oversee authentication and property control, tracking consignments and artwork movements, research and maintain a progress database, monitor adverts, monitor special terms in proposals, contributing catalogue notes, liaise with senior staff over sensitive areas and assist with condition reporting prior to the Prints and Multiples sale
• Liaison with specialists to ensure prompt advice and service to customers and complete initial research to develop specialist knowledge across the field
• Continue to play a leading role in business intelligence and client research; updating databases and anticipating growth areas by staying informed of industry news
• Keep accurate records and files for customers, sales and external consultants
• Efficiently handle queries by phone, email, in person and during valuations alongside specialists
• Perform all duties associated with receiving and processing of property, and manage installations and deinstallations
• This position may require travel for previews and appraisal clinics, and occasionally will require weekend availability for said previews and cataloguing deadlines
• Contribute to the shared social media account @bonhamsprints
• Occasionally assist Administrator with pre and post-sale tasks

Required Skills:
• One to three years demonstrated experience cataloguing works of art within a collections information system or research setting
• Bachelor's degree in art, art history, museum studies, information sciences, or related discipline
• Thorough knowledge and passion for the field of Prints and Multiples is preferred
• Outstanding people skills and ability to grow and establish relationships with others
• Be comfortable in a public facing role, past presentation experience is a plus
• Solid administrative and time management skills and proficiency in Outlook/Word platforms
• Affinity for discretion and confidentiality
• Comfortable unframing and framing prints for cataloguing
• Foreign language skills are a plus

For more more information, details, and how to apply, please visit external link.

In conjunction with the major exhibition and publication, Tales of the City: Drawing in the Netherlands from Bosch to Bruegel—a collaboration between the Cleveland Museum of Art and the Albertina Museum, Vienna—the CMA is convening an international symposium on sixteenth-century Netherlandish drawing in Fall 2022.

The Netherlandish cities of the sixteenth century—Antwerp, Bruges, Brussels, Ghent, Leiden, Haarlem, ’s-Hertogenbosch, to name a few—provided some of the most remarkable and fertile urban settings in history for art patronage and creation. In the course of the sixteenth century, drawing in the Netherlands developed from a medium used primarily for copying and recording compositions to an active design process. This was partially a result of the many demands placed on urban artists, who were called upon to create not only paintings and sculpture, but also to visualize the wide-ranging, multi-media adornment of civic, religious, and domestic spaces such as guild halls, churches, private homes, and even city streets during events such as joyous entries. The great diversity in techniques, functions, and types of Netherlandish drawings that come down to us today elucidate the connections between drawing and printmaking, stained glass, decorative arts, and other media. They often defy strict classifications of type such as preparatory, presentation, or finished works. Indeed, many drawings straddled multiple categories in practice and played various roles in processes of translation and communication in light of shifting market and audience expectations in cosmopolitan urban milieux.

We invite proposals for papers that address the multifaceted purposes of drawing in the context of northern and southern Netherlandish cities in the 16th century. Proposals are invited from advanced graduate students, scholars, curators, and conservators on themes including but not limited to the development and purpose of drawing techniques; the role of drawing in proposing innovative subject matter; in negotiating contentious terrain (political, religious); and in communicating and collaborating between artists, craftsmen, and civic bodies. Papers will be limited to 20 minutes in length and presented in English.

Abstracts must be submitted electronically to NetherlandishDrawings@clevelandart.org, no later than June 20, 2022. Presenter invitations will be extended by July 11. Travel grants will be available on a limited basis for those without travel or professional development funds. Please indicate if you anticipate applying for a travel grant.

This symposium is funded by a generous grant from the Robert Lehman Foundation.

https://www.clevelandart.org/exhibitions/tales-of-the-city

The Print Center has a strong history of welcoming artists, audiences and participants of diverse backgrounds, races, religions, sexual orientations, genders, and gender identities and/or expressions. The Print Center values diversity in staffing, leadership, programming and the range of communities with which we engage. We are committed to the ongoing work of upholding these values and believe removing barriers to inclusion is critical to the future of our society. We support and seek to give voice and visibility to emerging and established artists of all races, ages, sexual orientations, genders and gender identities and/or expressions. We welcome and encourage the participation of individuals of all backgrounds who are inspired by our shared purpose. We honor the power of photography and print to raise and amplify a multiplicity of voices. We are committed to fostering that power to advocate for change as well as supporting artists working for equity and justice in our exhibitions and programs.

Any artist using Photography and/or Printmaking as critical components in their work can enter. Artists whose work pushes the boundaries of traditional photographic and printmaking practices are encouraged to enter. 2D and 3D works are eligible.

The ANNUAL is one of the oldest and most prestigious competitions in the United States. Open to local, national and international artists, The Print Center is particularly interested in highlighting the use of photography and/or printmaking in new and intriguing ways, both in content and process.

Dr. Makeda Best is the Richard L. Menschel Curator of Photography and Interim Head, Division of Modern and Contemporary Art at the Harvard Art Museums.

Curlee Raven Holton is the Executive Director of the David C. Driskell Center at the University of Maryland and The David M. and Linda Roth Professor of Art, emeritus, at Lafayette College, Easton, PA where he founded the Experimental Printmaking Institute.

The jurors will select a group of 25 Semifinalists and 10 Finalists.
A wide variety of exhibition, museum acquisition, cash and material prizes are provided by supporters of the ANNUAL to be awarded to Semifinalists and Finalists, including:

• Three Solo Exhibitions at The Print Center (Finalists only)
• Stinnett Philadelphia Museum of Art Collection Award
• Pennsylvania Academy of the Fine Arts Purchase Award
• Art Museum of West Virginia University Purchase Award
• The Jacqueline L. Zemel Prize for Printmaking
• The Print Center Honorary Council Award of Excellence
• Stockbridge Fine Art Printing Award ($250 value)
• The Print Center Honorary Council Award of Excellence
• Two-year Print Center Gallery Store Contract
• Numerous additional cash and material prizes awards

With the generous support of the Donald and Marilyn Keough Foundation, the Snite Museum of Art at the University of Notre Dame has established a pre-doctoral, curatorial fellowship focused primarily on the development of its growing collection of Irish art dating back to the eighteenth century. The Fellow will be appointed for 12 months, working 30 hours per week with the assumption that the remaining 10 hours will be dedicated to the completion of the dissertation. The fellowship carries a $36,000 stipend plus benefits, including medical benefits, life insurance and two-weeks vacation, with an additional $2,000 travel fund to conduct research or attend conferences related to the Museum’s collections. The Fellow will be appointed for one-year with the possibility of renewal (with an attendant standard 3% increase of the stipend) based on progress toward completion of the dissertation and the advancement of the Museum’s objective to raise the profile of its collections through publications, participation in conferences, and the organization of exhibitions. The 12-month appointment runs on the University’s academic calendar, beginning in mid-August or early September 2022. This role does offer a hybrid work schedule.

The primary responsibility will include research into the Snite Museum’s growing collection of Irish prints, drawings, paintings, sculpture, and photographs. The Museum values its collaborations with the Keough-Naughton Institute for Irish Studies (KNI) and the Rare Books and Special Collections (RBSC) division of Hesburgh Libraries whose holdings of Irish material is well known and highly esteemed. Reporting to the Curator of European and American Art before 1900, Fellows will have full access to these resources and the many faculty and visiting scholars from a wide array of disciplines they attract.

For more details and how to apply, please visit external link.

The Allen Memorial Art Museum (AMAM) at Oberlin College is seeking applicants for a curatorial position in European and American art at the assistant, associate, or full curatorial level. The curator will oversee all aspects of the museum’s research, interpretation, and presentation of its important pre-1900 art collections and will collaborate with the curator of academic programs, curator of education, and other staff to engage students in curatorial and research projects and plan a broad range of public programs. The curator should have particular strength in the 1500-1900 time period and be conversant with multiple areas and periods of European and American art. The curatorship is a continuing 12-month Administrative and Professional Staff position at the Allen Memorial Art Museum, Oberlin College, reporting to the director of the museum.

Responsibilities: The curator will oversee an outstanding permanent collection of approximately 5,500 works of art dating from antiquity to 1900, the major part of them paintings, sculptures, and works on paper from the medieval period through the 19th century. Specific responsibilities include:

• developing in-house and traveling exhibitions and collection installations;
• monitoring and making recommendations for care of the collection;
• teaching with the collection for Oberlin College classes and for other groups;
• participating in collection- and exhibition-related programming for campus and public audiences;
• working with curatorial colleagues and Oberlin College faculty to conceptualize and initiate teaching exhibitions;
• identifying acquisitions through purchase and gift;
• carrying out original research and publishing on the collection;
• expanding physical and digital access to collections;
• working closely with the director and Oberlin College staff to cultivate a broad donor base and to identify, apply for, and report on grant-funded activities;
• contributing to the development of the museum’s strategic planning initiatives;
• preparing a long-range plan for pre-1900 holdings;
• mentoring and supervising student assistants;
• and other duties as assigned.

Requirements: An M.A. in art history or a closely-related field is required, a Ph.D. in art history is preferred. All applicants should have at least 3 years of full-time curatorial experience caring for an art collection and experience working on exhibitions; consideration for associate or full curator rank will be commensurate with experience. Other requirements include:

• broad knowledge of art history, particularly from the medieval period through the 19th century, and a deep commitment to a contextual, cross-disciplinary approach to original works of art;
• demonstrated knowledge of, and experience with, the exhibition process;
• a record of publication and public speaking;
• object-based teaching experience;
• some experience relating to the conservation of works of art and to provenance research;
• a commitment to expanding access to the collection for diverse audiences and to fostering inclusion through museum curatorial practice;
• excellent communication skills, as a substantial amount of time will be spent with others on the phone, through email, in video meetings, and in person, and effective leadership and interpersonal skills;
• outstanding collaborative abilities, as the curator will be an important liaison between the museum and faculty, students, supporters, visitors, and community partners;
• highly-developed administrative and organizational capabilities;
• a high degree of professionalism, close attention to detail, collegiality, and ability to meet deadlines;
• the ability to work occasional evening and weekend hours, with some travel required, and to lift and carry objects weighing up to 25 pounds;
• foreign language skills commensurate with one’s field.

Compensation: Salary will be commensurate with qualifications

The Baltimore Museum of Art (BMA) is delighted to announce a call for applications for a paid 2-year (24 months) early career curatorial fellowship supported by The Getty Foundation’s Paper Project.


Position Description

The Paper Project Curatorial Fellow will be a full-time member of the BMA’s Prints, Drawings & Photography (PDP) Department from September 2022 through August 2024, participating in the daily activities and duties of the department and gaining professional mentorship and hands-on experience with the full spectrum of curatorial practice and responsibilities. The Fellow will be encouraged to use the BMA’s significant collection of historical (pre-1945) prints to explore socially relevant and/or interdisciplinary narratives.

This fellowship will provide invaluable professional development experience for an emerging curator to engage first-hand with the BMA’s exceptional collection of over 62,000 prints and drawings and to explore new ways to present the historical collection to the Museum’s many different publics. The area of the Fellow’s interest is open, but priority will be given to candidates with a demonstrated interest aligned with one of the following strengths in the BMA’s collection: Northern European prints of the 16th and 17th centuries, French 19th-century prints, or European modernist graphic works.

Key qualities in the successful candidate will be the willingness to think broadly across cultures and periods, intellectual curiosity, and a commitment to making art broadly accessible to different audiences. The Museum is committed to diversifying the museum field, especially in the highly specialized and traditionally elite field of the study of works on paper, and prioritizes candidates from backgrounds underrepresented in the field.

Further, the Fellow will be provided the necessary support to pursue an independent capstone project that uses the PDP collection to develop alternative narratives in the study of Western graphic traditions, initiatives aligned with the BMA’s institutional commitment to engage with increasingly diverse audiences through exhibitions and programs that prioritize historical accuracy, artistic excellence, and equity. To encourage the Fellow to bring a new perspective to the curatorial practice for historical works on paper, the fellowship experience will be a combination of structured opportunities for professional growth and room for experimental thinking.


Position details

• Two-year, salaried full-time position (September 2022 through August 2024)
• Regularly scheduled onsite work is a mandatory aspect of the job, with occasional opportunities to work from home or at offsite locations
• Occasional work-related travel is expected


The Fellow will be expected to spend approximately 60% of their time engaged with departmental and institutional duties—including collection research and record maintenance, acquisition research and proposal, and assisting with Study Room visitors and classes—and approximately 40% of their time working on their capstone project and its accompanying elements.

The Fellow will also have a modest annual travel stipend that will allow travel to area collections for research and/or art fairs to participate in the process of considering potential acquisitions for the BMA’s PDP collection.

Please view the BMA website for details on how to apply.

CFP | Transporting Culture - Art, Objects, and ‘Early Modern Logistics’
Abstracts due by June 1, 2022
Symposium date: October 20, 2022
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Recent art historical emphasis on objects' biographies and their place in global networks of exchange during the early modern period have drawn increasing interest to the journeys of things, their points of origin, and their final destinations—a field of study perhaps best labeled “Early Modern Logistics.” Taking up this subject, this session aims to enrich our understanding of objects of cultural production - from paintings to pots - by examining them specifically in the context of their transportation. Understanding the state of movement between the sites of production and reception as a shifting and notionally impermanent context, we hope to examine how logistical demands left their mark on the lives of objects. Lost, broken, stolen, materially or aesthetically modified, bartered, and reclassified, the transported object offers a unique point of entry to explore forms of local knowledge, micro-cultures, and the realities of premodern journeying that remain underrepresented in current art historical discourse.
***

Potential topics include, but are not limited to:

a) How a consideration of material culture as cargo requires us to rethink traditional art historical concepts

b) How problems posed by climate and terrain influenced the way in which art and objects were packaged, modified, and classified

c) How local customs and knowledge networks intersected in the wider biographical journey of art and objects

d) How objects’ aesthetic properties were altered by, or in conversation with, the requirements of transportation.

e) How the logistical demands of the contemporary moment (shaped by the automation of transport and the globalization of the supply chain) have inflected our understanding of both human agency and the unique requirements of geography, climate, and terrain in early modern logistics (and vice versa).
***

Offered online as part of the Historians of Eighteenth-Century Art and Architecture (HECAA) Zoom Event Series, “Transporting Culture -- Art, Objects, and ‘Early Modern Logistics’” will take place on Thursday, October 20, 2022 as a half-day symposium. Please submit an abstract of max 300 words along with your CV to Harvey Guy Shepherd (Harvey.Shepherd@courtauld.ac.uk) and Lorne Darnell (Lorne.Darnell@courtauld.ac.uk). Deadline for submission is June 1st, 2022.

The Grunwald Center for the Graphic Arts at the Hammer Museum is looking to fill an 18-month curatorial fellowship, generously funded by the Henry Luce Foundation.

Summary:
Provide support for the Hammer Museum and Grunwald Center for the Graphic Arts' collections, exhibitions, and curatorial projects. Assist in daily management, cataloguing and oversight of the Grunwald Center collection of works on paper as well as the Armand Hammer Permanent Collection, the Armand Hammer Daumier and Contemporaries Collection, and the Murphy Sculpture Garden.

Conducts research on the collection and responds to research requests; assist with oversight of class visits to the study center; assists with exhibitions organized from the collections. The Curatorial Fellow also assists with online collection projects as needed. Assists with all aspects of exhibitions and projects including initiations, approvals, budgets, contracts, correspondence, travel/hospitality, logistics/technical requirements, communications, visitor experience, artist relationships, documentation, and other details as appropriate.

For more details, requirements, and how to apply, please visit external link.