August 15 - 19, 2022 at UCLA
Faculty: Craig Kallendorf and Lisa Pon

Description: This course will serve as a comprehensive introduction to the history of the book in early modern Europe, from the beginning of the fifteenth century to the middle of the seventeenth. Our goal will be to use the holdings of the UCLA Research Library, with a focus on its Aldine collection, the Getty Research Institute Research Library, and the Huntington Library to learn to ‘read’ a Renaissance book, both as a physical object and as a carrier of cultural values. We will examine in turn how these books were produced, how they were distributed, and how they were used by those who bought and read them.

For more information and how to apply please visit: http://www.calrbs.org/admissions/

The J. Paul Getty Museum is pleased to announce “Color on Paper”, a workshop organized in conjunction with the Getty Foundation’s Paper Project initiative devoted to training and professional development for curators of prints and drawings.

“Color on Paper” will bring together early and mid-career curators and conservators specialized in works on paper created before 1900 CE with a threefold goal:

1] to support advanced study on the subject of color, advancing ongoing research or laying groundwork for future projects;

2] to provide an opportunity for curators and conservators to work collaboratively and deepen learning about technical art history, its tools, and applications;

3] to further the understanding and interpretation of works on paper.

“Color on Paper” will consist of a series of six virtual seminars throughout the course of 2022 and a week-long residency in Los Angeles in early 2023. Led by international experts, the online seminars will provide participants with foundational knowledge through reading assignments, discussions related to the materiality, function, and meaning of color in works on paper. During the residency, participants will explore Southern California collections of works on paper through the lens of color, attend presentations on interdisciplinary research, and take part in an experiential workshop led by Chicana artist Sandy Rodriguez on pigments and dyes used in indigenous artistic practices.

This workshop has been conceived with an eye to promoting fulsome cross-regional and cross-cultural dialogue among specialists of art created around the globe. To that end, we welcome applications from colleagues with interest and expertise in works on paper from across cultures and geographies.

Travel, accommodation, and meal expenses will be covered by the organizer.

To apply, please submit the following documents to drawings@getty.edu by January 31, 2022:
a current CV,
a brief statement describing research/work and how it would be enriched by this workshop (750 words max.), and
contact information for one professional reference.

For more information, please contact Casey Lee at calee@getty.edu.

April 10th and 11th, 2021 • Online Event

Necessity drives the evolution of new technology; the current pandemic forced us to rapidly embrace virtual engagement on a large scale. The need for social distancing has impacted every facet of our lives and challenges the notion of printmaking as a cooperative process.

SGCI released MakeReady as a social platform for its membership—allowing members to share ideas, resources and collaborate on projects and create an online community that exists to produce accessible information for current and future printmakers exceeding even international limitations and drive the content for the organization. Programming developed for this conference will be hosted by SGCI long term and made accessible for members as we rethink SGCI’s digital capabilities.

Join us in launching SGCI’s online programming and celebrate the internal changes within the organization made to better serve the membership.

Join us for a virtual Wikipedia Edit-a-Thon that helps to highlight more artists and stories like those featured in the Smithsonian American Art Museum's landmark exhibition ¡Printing the Revolution! The Rise and Impact of Chicano Graphics, 1965 to Now. The exhibition brings together five decades of innovative printmaking by Chicano artists to explore the social justice-rooted artistic tradition and its contemporary legacy. Many of the featured artist came of age during the civil rights era and channeled the period's social activism into assertive aesthetic statements that announced a new political and cultural consciousness among among people of Mexican descent in the United States. Learn how to edit and create new Wikipedia articles in this online editing workshop and work to amplify and expand on articles about Chicanx women and LGBTQ+ artists. All levels of technological proficiency welcome.

Free with Registration via Eventbrite. Please visit the 'External Link' below for more information.

The Department of Art History at Penn State University is seeking applications from doctoral students in art history and related disciplines for the week-long workshop, Virtual/Material: Color/Pigment.

Funded by the Samuel H. Kress Foundation, this workshop will offer an integrated curriculum of Technical and Digital Art History via the special case history of color. Through a combination of seminars, demonstrations, and hands-on labs led by a distinguished faculty of scientists and historians, participants can expect to leave the workshop better equipped to understand historical colorants and their production as well as the ways in which digital cultures can distort or ameliorate historians’ approach to such colorants.

The current requirement that art historians rely more or less exclusively on virtual platforms and digital resources for their research and teaching during the COVID-19 pandemic has made plainer the need for scholars to understand the relationship between works of art as material objects and as data. The evidentiary status of digital representations of works of art is a question that has become as pressing for students and scholars of art history as it has long been for conservators and conservation scientists, imaging professionals, data scientists, and information specialists. Processes of translation from the material into data and vice-versa are poorly understood by most art historians, potentially jeopardizing the validity of research questions and findings. This predicament is especially conspicuous in the realm of color —a property of artworks that is often misunderstood or marginalized.

Led by Sarah K. Rich, the workshop’s distinguished faculty includes Susan Farnand (Rochester Institute of Technology), Carolyn L. Kane (Ryerson University), Hannelore Roemich (Institute of Fine Arts), Michael Hickner (Penn State), John Russell (Penn State), Pamela H. Smith (Columbia University), and Tracy Stuber (Getty Research Institute).

The workshop will take place August 9 – 13, 2021. Participants' round trip travel, shared lodging, shared meals, books, and all lab materials will be covered.

Plans are to conduct the workshop in person; however, should conditions related to the COVID-19 pandemic necessitate the shift to a virtual format, all sessions will be live-streamed and necessary instructional materials will be shipped in advance to participants. The decision about whether the workshop will be held in-person at Penn State or conducted virtually via Zoom or another digital platform will be made at the time applicants are notified of admission.

DEADLINE and SUBMISSION
Applications for Virtual/Material: Color/Pigment are due via email to color@psu.edu by 11:59 pm EST on Monday, December 14, 2020. Award notifications will be sent in late February.

ELIGIBILITY
Applicants should be PhD students in art history or a related discipline (e.g. archaeology, architectural history, visual studies). International students and students pursuing their PhD at institutions outside the U.S. are eligible and encouraged to apply. Interested students who do not anticipate being able to travel to Penn State to participate are encouraged to apply given the possibility that the workshop will be conducted virtually.

APPLICATION MATERIALS
1. Letter of Interest (2-3 pages), which should include an explanation of the value of this workshop for your current research
2. Dissertation prospectus or other relevant writing sample (20 pages maximum)
3. CV
4. One recommendation letter

The Graphic Arts Department at the Library Company of Philadelphia will host a Visual Literacy workshop generously supported in part by the Center for American Art in July 2020.

This three-day workshop aims to enhance the skills of historians, art historians, archivists, curators, and other university, library and museum professionals, as well as graduate students who use images to interpret American art, history, and culture. We seek to augment and strengthen participants’ ability to identify, “read,” and analyze graphic material, including prints, photographs, watercolors, paintings, ephemera, and other two-dimensional objects. As the program uses Philadelphia as a focal point, priority will be given to applicants interested in using visual and material culture to explore urban topics.

Please send a two-page CV and a no more than 500-word essay about your background, as well as your goals, and anticipated outcomes from attending the workshop to printroom@librarycompany.org.

Applications are due: March 27, 2020
Successful applicants will be notified by April 17, 2020.
Deadline for acceptance is April 24, 2020.

Please visit the 'External Link' below for more information about the workshop, the syllabus, and an application.

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.

The Brodsky Center at the Pennsylvania Academy of the Fine Arts (PAFA), Philadelphia, announces a traveling seminar designed to deepen the understanding of techniques in the print discipline employed by contemporary artists.

The seminar will be held from April 6 to 10, 2020.

Ten national and two international curators will be selected to travel to organizations in Philadelphia and New York that support the creation, collection, and interpretation of contemporary artworks in the print medium, including the Conservation Center for Art & Historic Artifacts, New York Public Library, Museum of Modern Art, Two Palms, and Prints of Darkness, among others, and attend demonstrations and lectures in printmaking, and caring for, exhibiting, conserving, and publishing prints.

CRITERIA
Funded through a grant to PAFA from the Getty Foundation through The Paper Project initiative focused on training and professional development for early- to mid-career curators of prints and drawings, the seminar covers all travel, lodging, meals, entrance fees, and session expenses.

Selected participants will be early-career curators with a demonstrated research interest in contemporary graphic arts, including curators who are working with prints in exhibitions and collections and desire to deepen their technical knowledge, and curators of drawings who are learning about prints.

Curators will be expected to arrive in Philadelphia by April 5, attend the seminar over the five-day period between April 6 and 10, and depart on April 11. A schedule of activities will be sent upon acceptance.

The seminar will promote dialogue around the most promising trends and ideas being developed by contemporary artists, print workshops, and art curators in the field of prints and paper, in the hope of enhancing the impact of the print medium through future exhibitions, acquisitions, and educational initiatives.

APPLICATION
Under “Traveling Seminar” heading, email application in PDF format (not to exceed 5MB) to the Coordinator of the Traveling Seminar at jwaddell@pafa.org, including:

(1) Letter of interest detailing applicant’s training in the history and techniques of prints and works on paper since 1960; three past and two upcoming exhibition projects, collection acquisitions, and/or publications in prints; and goals in attending seminar (2 pages, maximum).

(2) Updated CV.

(3–5) Three letters of support, one of which must be from applicant’s museum director and/or department head.

ABOUT PAFA
Founded in 1805, PAFA is America's first school and museum of fine arts. A recipient of the National Medal of Arts, PAFA offers undergraduate and graduate programs in the fine arts, innovative exhibitions of historic and contemporary American art, and a world-class collection of American art. PAFA’s alumni include Mary Cassatt, Njideka Akunyili Crosby, Thomas Eakins, Barkley L. Hendricks, Violet Oakley, Louis Kahn, David Lynch, and Henry Ossawa Tanner. The Brodsky Center provides professional opportunities for PAFA students in the process of making, editioning, marketing, and selling artists’ prints. Since 1986, the Center has completed over 300 editions with emerging and established artists, including Melvin Edwards, Chitra Ganesh, Joan Semmel, and Richard Tuttle.

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

The Fitzwilliam Museum invites applications from early- to mid-career curators of botanical works of art on paper to participate in a series of workshops and collections visits in Cambridge, London and Edinburgh.

The workshops will centre on the Fitzwilliam Museum’s outstanding collection of around 2,000 botanical drawings, watercolours and prints, dating from the sixteenth to the twenty-first century. These include superb examples by the most renowned and influential practitioners of the genre, mainly European, as well as artists of the Chinese, Japanese and Indian schools.

The Growing Networks project, led by Jane Munro, Keeper and Henrietta Ward, Assistant Keeper in the Paintings, Drawings and Prints department, sets out to establish and nurture a network that will bring together curators with responsibility for important collections of botanical works of art on paper throughout the UK, working in art museums, libraries, archives, botanic gardens and herbaria. It presents a valuable forum for discussion for curators with diverse subject specialisms, linking botanists and plant scientists with art curators and paper conservators who have expertise in technical analysis and collections care, enabling us to share knowledge, resources and ideas.

The project will take the form of a colloquium, a series of workshops and collection visits from 7 - 15 June 2020. The workshops are based mainly in Cambridge at the Fitzwilliam Museum, but also include sessions in the Cambridge University Herbarium and the Museum of Archaeology and Anthropology. Significant time will also be spent at the Natural History Museum, Royal Horticultural Society Lindley Library and Kew Gardens in London and the Royal Botanic Garden in Edinburgh. A small number of specialists in botanical art, conservation and curation will form part of the group to ensure participating curators benefit from their expertise, and extend networking opportunities.

The Fitzwilliam, therefore, welcomes applications from curators working not only in art museums, but in libraries, archives, history museums and herbaria. Applicants will be selected on the basis of the significance of the collections for which they have responsibility, and their own research interests. Preference will go towards those with demonstrable interest in and experience working with botanical works of art on paper, but we will also consider those who have future aspirations and/or an upcoming curatorial project which focuses on this area. Around 10 participants will be admitted to the programme.

Growing Networks is generously supported by The Getty Foundation, as part of The Paper Project: Prints and Drawings Curatorship in the 21st Century.

We welcome applications from international participants but cannot cover travel to the UK. All UK travel, accommodation and meal expenses will be covered by the grant.

Deadline: Sunday 13 October 2019. Late applications will not be accepted.
Participants will be selected and notified by the end of November.

Questions about the programme may be directed to Jo Vine, Research Facilitator: jrv31@cam.ac.uk.

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

Print Quarterly invites applications for a program dedicated to prints connoisseurship and curatorial practice, spanning from printmaking techniques to innovative strategies of display and public engagement in a museum context. The program will take place over four days in London and its vicinity. Most sessions will be held in museum print rooms, but insights into commercial print publishing, current printmaking and the primary and secondary art market will also be provided. The program will be led by the Editor of Print Quarterly with the contribution of international senior experts in the field.

The program is tailored to early and mid-career curators with responsibility for prints and works on paper seeking professional development. Applications from advanced graduate students pursuing a thesis on a print-related topic and scholars involved with print curating will also be considered.

Travel, accommodation and meal expenses will be covered by the program.

The program is supported by THE GETTY FOUNDATION, as part of The Paper Project: Prints and Drawings Curatorship in the 21st Century.

To Apply
Applications should be emailed as pdf documents to curating@printquarterly.co.uk and consist of:
- A letter of intent summarizing your interest in the program. The letter should describe your current responsibilities and work, your future hopes and ambitions and an explanation of how participation in the program might help you achieve your goals. It should also include your thoughts about what you would hope to see covered in the program and wish to learn from it.
- A curriculum vitae that includes your name, title, affiliation, postal and email address, nationality/citizenship, languages spoken, education, publications, and name and contact details of two references.

Deadline: 20 September 2019

Participants will be selected and notified by late October 2019.

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