45th International Wolfenbüttel Summer Course
17 July – 28 July 2023

Herzog August Bibliothek, Niedersachsen, Germany

“Early Modern Visual Data: Organizing Knowledge in Printed Books”

Instructor, Stephanie Leitch (Department of Art History, Florida State University)

Application deadline: March 15, 2023

This year's summer course for graduate students will unpack the function of images in printed books at the Herzog August Library and examine visual data across an array of genres.

We invite advanced graduate students (early modern concentrators) from all fields to apply for this two week session jointly taught by art historians, historians of science, historians of the book, curators and cartographers. Afternoons will be largely reserved for students to pursue their own research at the library.

Course tutors:
*Joost Depuydt, Museum Plantin-Moretus, Antwerp
*Michael Korey, Mathematisch-Physikalischer Salon, Staatliche Kunstsammlung Dresden
*Sietske Fransen, Bibliotheca Hertziana, Max Planck Institute for Art History
*Thomas Schauerte, Director, Museen der Stadt Aschaffenburg
*Suzanne Karr Schmidt, Newberry Library, Chicago
*Livia Cárdenas, Technische Universität, Berlin
*Chet van Duzer, Lazarus Project, University of Rochester


More info and application link here:
https://www.hab.de/event/sommerkurs_2023_early-modern-visual

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.

Division of Prints & Drawings
Thaw Colloquium on Connoisseurship
November 14–16, 2022

The Thaw Colloquium on Connoisseurship is a biennial program designed to encourage the close examination and scrupulous evaluation of the visual and material aspects of works of art on paper. Intended for curators and curatorial research fellows at the early stages of their professional careers, the Colloquium consists of a three-day seminar at the National Gallery of Art led by its curatorial staff, conservators, and guest experts. It focuses upon original works in the Gallery’s own collection, alternating between prints and drawings. The Colloquium is generously funded by the Eugene V. and Clare E. Thaw Charitable Trust.

This year, the Thaw Colloquium will concern drawings as a medium: old master, nineteenth-century, and modern, as well as contemporary. The matters to be considered will include: determination of period and culture of origin; identification of materials, techniques, and process; intention and function; the question and assessment of aesthetic quality; approaches to problems of attribution; and interpretation of condition. Further discussion will involve how these matters affect curatorial responsibilities and decisions: evaluation of institutional holdings; priorities for research and treatment; subjects for interpretation and presentation; and strategies for acquisition.

Funding from the Thaw Trust will allow the National Gallery of Art to cover all the expenses of participants: travel to Washington (including international), accommodations, and daily expenses.

Requirements: Participants will have a demonstrated commitment to prints and drawings, including at least two years of curatorial experience in a department of works on paper and advanced academic study in art history concerning the graphic arts.

Applicants should send a letter of interest and curriculum vitae by July 29, 2022, to:

Mollie Berger Salah
Curatorial Associate
Division of Prints and Drawings
National Gallery of Art
connoisseurship@nga.gov

Applicants selected to participate will be notified of their acceptance to the 2022 Thaw Colloquium on Connoisseurship by August 19, 2022.

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.

This seminar will explore the relationship between Black print and Black activism during the long nineteenth century, focusing simultaneously on Black print practices and the ethics of studying Black print and life. How did African Americans use a variety of print forms to share and advance issues of import to Black life in the United States? How did the specific print forms they chose to work in and with influence such issues? We will concentrate on a small number of Black authors (e.g., Mary Ann Shadd Cary, Jarena Lee, Frances Ellen Watkins Harper) and collectives (e.g., colored conventions, committees, newspapers) to trace how they engaged with multiple forms of print. Drawing on the American Antiquarian Society’s extensive collection, we will focus our attention on four primary formats: the pamphlet, the newspaper, the records of the Colored Conventions, and the book.

In addition to offering an opportunity to work closely with primary materials, this seminar will provide participants with an introduction to Black Print Culture Studies. Our archival work will be supplemented by scholarship, some of which may be quite recent, but much of which is foundational to this well-established field. We will also learn from scholars in the field through guest lectures and roundtables. All of the writer/activists we will learn from, be they working in the nineteenth century or the twenty first, require readers to reckon with a series of ethical concerns that remain deeply relevant to our world and our work. The study of African American print culture is also an inquiry into citational practices, the institutional forces that have tended to obscure Black print and elide Black scholarship, and the processes and ethics by which Black study compels us to change these structures. Through our readings and discussions, we will not only explore fascinating materials produced by a community of powerful writers, but also cultivate the practices required for engaging with these communities with an eye towards archives, power, and our relation to them.

This seminar will be of interest to graduate students, librarians, archivists, curators, and college and university faculty.

This year, dedicated to Canova's celebration, we will focus on Italian neoclassical prints between the 18th and early 19th centuries.

The course is based in Arezzo, Museo Casa Ivan Bruschi (Arezzo, Corso Italia 14) with seminars and workshops in libraries and public collections in Arezzo, Florence, and Rome: Museum of the Fraternita dei Laici, Archivio Vasari in Casa Vasari Museum, Biblioteca Città di Arezzo, Accademia di Belle Arti and Accademia delle Arti del Disegno in Florence, Istituto Nazionale Centrale della Grafica in Rome (for more details see the program online via External Link below).

Our Instructors this year are: Giorgio Marini, Sandro Bellesi, Gabriella Bocconi, Cristina Acidini, Laura Aldovini, Claudia Borgia and Alessandra Baroni.

Teaching languages: English and Italian.

The Course also includes a printmaking workshop at the Stamperia Il Bisonte in Florence (12 hours, July 18-20, 2022) with professional staff.

Course-fee includes: all seminars and workshops, transfer from Arezzo to Siena, Rome, and Florence and the printmaking workshop at the Stamperia Il Bisonte, Florence: € 800

Application's deadline: April 15, 2022

Centro Studi Art in Tuscany Annual Membership: € 20

The seminar will examine continuity and change in the production, dissemination, and reading of Western European books during the 200 years following the advent of printing with movable type. Seminar participants will consider the governing question of whether the advent of printing was a necessary precondition for the Protestant Reformation, and ways in which elements such as book layout, typography, illustration, and paratext (e.g., prefaces, glosses, and commentaries) shaped the responses of readers. Employing key methods of the History of the Book and the History of Reading, our investigation will consider how the physical nature of books affected ways in which readers understood and assimilated their intellectual contents. This program is geared to meet the needs of teacher-scholars interested in the literary, political, or cultural history of the Renaissance and/or Reformation, the History of the Book, the History of Reading, art history, women’s studies, religious studies, bibliography, print culture, library science (including rare book librarians), mass communication, literacy studies, and more.



This seminar will meet from 4 – 30 July 2022 at The Ohio State University in Columbus, OH. The Rare Books and Manuscripts Library at OSU preserves more than 3,500 books printed before 1650, with exceptional strengths in the British and Western European Reformations and early printing (including one hundred books printed before 1500). Named collections include the Harold J. Grimm Reformation Collection (which includes, among other treasures, more than 120 Luther sermons and treatises in Latin or German printed during his lifetime), the John Foxe and John Day collections (both among the finest in North America), and the James Stevens-Cox STC-sigla collection (mostly religious books so rare that the editors of the Short-title catalogue listed this as a named private collection).



Those eligible to apply include citizens of USA who are engaged in teaching at the college or university level and independent scholars who have received the terminal degree in their field (usually the Ph.D.). In addition, non-US citizens who have taught and lived in the USA for at least three years prior to March 2022 are eligible to apply. NEH will provide participants with a stipend of $3,450. Up to three spaces will be reserved for non tenure-track faculty.

Full details and application information are available at the External Link below. For further information, please contact NEHreformationbooks2022@jmu.edu. The deadline for application is March 1, 2022.

The Summer Institute for Technical Studies in Art is an intensive two-week workshop for a cohort of 15 pre-doctoral art historians from diverse backgrounds and research areas whose education to date has given them limited access to object-focused technical inquiry, methodologies, and instruction.

This course aims to expose participants to the interdisciplinary approach and tools that are core to technical studies while fostering relationships that further collaboration, enrich research, and enhance scholarship across the field of art history and beyond. Participants will engage in close looking, art making, and scientific investigation of works of art guided by – and in dialogue with -- conservators, conservation scientists, curators, art historians, artists, and other experts, under the direction of Francesca Bewer, Research Curator for Conservation and Technical Study Programs. Throughout the workshop students will take part in peer-to-peer teaching, discuss technical art history writing, and have opportunities to question their assumptions about the physical realities and lives of objects. Together, the cohort will explore ways in which the skills and knowledge they acquire during the course can meaningfully contribute to their research, be applied in teaching, and be communicated in different museum contexts.

The workshop is generously funded by the Andrew W. Mellon Foundation. Each participant will be provided with housing and a stipend of $1,500 to help cover round-trip travel costs, food, and incidental expenses for the duration of the program.

Course Topic: Replication

Through the theme of replication, SITSA participants will have opportunities to consider some of the thorny issues around authenticity, originality, reproducibility, appropriation, and the role that replication may play in ethical stewardship.

There is a long history of artists and craftspeople creating copies or multiples of their work, producing artworks that consist of replication(s), and incorporating reproduction(s) into original works. Familiarization with instruments and materials of a craft to hone skills entails repetition of gestures. Copying others’ works and artistic processes is also a time-honored practice: for some, it is an act of devotion; for others, it is adopted for greater dissemination or to serve remunerative ends.

The life of an artwork may also involve replication at various stages. Reproduction has – and continues to be -- instrumental in the preservation of cultural heritage, both in acts of conservation and restoration. And various kinds of remaking and reconstruction have been commonly adopted by archaeologists and art conservators to better understand artist’s processes, for instance, or how particular works were made and have been altered over time. Increasingly, art historians are applying such hands-on methodologies as well.

Guided by experts, participants will consider theoretical and practical questions about replication. They might consider the limits and possibilities of research into replication (by art historians, artists, scientists, conservators, craftspeople) and what more could be learned from other disciplines. They might also investigate what kinds of new knowledge digital imaging and analytical technologies can provide. Participants will be introduced to the tools used routinely in conservation to gather evidence of manufacture, alteration, and restoration and will carry out in-depth examination and documentation of selected objects from the museums’ collections. Hands-on processes will include some form of casting, printmaking, analog photographic printing, and painting in combination with close examination of works and conversations with artists/practitioners. The museums’ various collections, conservation research projects, and exhibitions will form the artifactual and material backbone of the course.

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.