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.

"Vento dal Nord: Dutch and Flemish Prints in Italian Collections"

Art in Tuscany Study Center, the Accademia delle Arti del Disegno di Firenze, the Fondazione Ivan Bruschi di Firenze, are proud to announce the third annual Summer Course on print collecting in Italy.

Internationally renowned specialists will guide you through the world of Renaissance-Baroque drawings and Flemish prints and the most important collections in Florence, Rome, Arezzo and Bologna.

Among them, Cristina Acidini, (President of the Accademia delle Arti del Disegno di Firenze), Carlo Sisi (Conservator of the Fondazione Ivan Bruschi), Silvia Castelli (Curator of Prints and Drawings, Biblioteca Marucelliana, Florence), Giorgio Marini (member of the editorial board of Print Quarterly); Ricardo De Mambro Santos (Willamette University, OR), Nadine M. Orenstein (Drue Heinz Curator in Charge, The Dep. Of Drawings and Prints, the Metropolitan Museum of Art, NY), Giovanna Sapori (University of Roma 3), Rick Scorza (Accademia delle Arti del Disegno, London), and Alessandra Baroni Vannucci (specialist in the works of Stradanus and the print culture of the Medici).

CANDIDATES’ REQUIREMENTS (20 max):
MA/PhD Students in History, Art History and related disciplines; Junior/Senior scholars

APPLICATION: Deadline 15 March 2019

SUBSCRIPTION FEE: 950 €: course, visits, materials, museum tickets, etc. (without accommodation)

OPTIONS:
1.Accommodation: 350 € single room with private bathroom + meals
2. Printmaking Workshop 15-17 July (9 h) : € 150 (all inclusive)

GRANTS: n. 4 grants awarded on the basis of the letter of motivation

TEACHING LANGUAGES: English and Italian

Please visit the 'External Link' below for more information, including the application form.

Lecturer: Hildegard Homburger
Language: English
Participants: 8
Next dates: Berlin, 27. – 28. June 2024
Registration: h.homburger(at)t-online.de
Fee: 350,- € IADA-members; 390,- € non-members

Within the total number of photomechanical prints, artistic works represent only a small part.

With the introduction of photography in the19th century, printers no longer had to transfer the image manually onto the printing surface, but were offered the possibility to transfer the image by sensitizing the printing surface and exposing it to light, through a negative or positive depending on the printing technique.

With computer technology, negative or positive film is often no longer necessary. The image is transformed into dots by the computer and the image is transferred to the printing surface by light exposure in the machine.

Since their invention photomechanical printing techniques have continued to develop further. There are many similar variations of the same technique, each named differently by its inventor. This can be very confusing in the process of identification.

In this seminar the most important photomechanical techniques of relief, intaglio, planographic, screen and digital prints will be presented.

The different techniques (artistic and reproduction) will be examined by studying original prints under magnification. Two participants will share a stereomicroscope. The distinctive characteristics of each technique will be worked out through close looking at the original prints, as exercises in identification.

The two day course provides an opportunity to look at a great number and variety of original prints under magnification and to develop skills in the identification of their techniques. There will also be the opportunity to compare photomechanical with manual prints.

Fee
350,- € IADA-members
390,- €

A intensive 3 day international workshop to support up to 16 early and mid-career curators in the fields of prints and drawings. The workshop is funded by the Getty Foundation through The Paper Project: Prints and Drawings Curatorship in the 21st Century.

A vital part of a curator’s responsibility as the steward of a collection is not only to understand an object within historical, creative, and cultural contexts, but also to consider its material qualities and how a work of art might change over time. A good understanding of the technical and conservation issues of a collection enables curators to partner better with all colleagues involved in the care of objects. The workshop will build upon curators’ experience and training to date, augmenting it with the skills necessary for a holistic approach to any collection.

The main goal of this workshop is to help close a gap by exploring the fundamental points of intersection between conservation and curatorial practice. Activities and discussions will focus on issues related to preservation, acquisition, and interpretation (research, cataloguing, and publication), which includes understanding the physical structure and condition of a work, ideal storage, possible treatment needs, and display.

These aims will be achieved through a variety of experiences. Hands-on examination of artworks representative of the broad range of mediums that participants are bound to encounter in their careers is planned in the Art Study Center with objects from the museums’ collections. Practical drawing and printmaking experiences will be offered in the museums’ Materials Lab. Close looking with the aid of a variety of technical tools, will be undertaken in the Straus Center for Conservation with the goal of teaching the participants how to undertake basic technical examinations on their own. And throughout the course, participants will engage in discussion with curators, academic art historians, conservators, conservation scientists, and artists committed to the flourishing of the graphic arts.

The workshop will be led by the curators, conservators, and other members of the technical studies team responsible for overseeing and interpreting the Harvard Art Museums’ graphic arts collections, which span both Western and non-Western fields, from the late-medieval to contemporary periods. The project team consists of Francesca Bewer, Research Curator for Conservation and Technical Study Programs, and Director of the Summer Institute for Technical Studies in Art; Penley Knipe, Philip and Lynn Straus Senior Conservator of Works of Art on Paper and Head of Paper Lab, Straus Center for Conservation and Technical Studies; Edouard Kopp, Maida and George Abrams Curator of Drawings; and Elizabeth Rudy, Carl A. Weyerhaeuser Associate Curator of Prints. (In January 2019, Kopp will become the John R. Eckel Jr. Foundation Chief Curator of the Menil Drawing Institute in Houston.)

Confirmed specialists will include Scott Rosenfeld: Lighting Designer at The Smithsonian American Art Museum and The Renwick Gallery in Washington D.C.; Ad Stijnman: independent scholar, printmaker, and print historian; and Joan Wright: Bettina Burr Conservator, Asian Conservation, Museum of Fine Arts, Boston. Other guest specialists are to be confirmed.

Eligibility and Application Process
Early and mid-career curators from institutions of various sizes worldwide are invited to apply. Specialties in prints and drawings of any scope of time and geography are welcome. No background in science or conservation, or access to in-house conservation resources, is required. A maximum of 16 participants will be admitted to the program. Applicants are evaluated on the basis of their academic accomplishments to date and on their expressed interest in integrating technical studies in their curatorial pursuits.

To apply, please send a letter of interest along with a current résumé/CV via email to am_europeanamerican@harvard.edu.

In the early and mid 19th century, the increasing adoption of wood engraving and the booming transnational trade in stereotypes (casts from wood engravings) effect a popularization of pictures throughout western culture. Moreover, this mediated migration of xylographic illustrations pushes forward the formation of new modes of combining letterpress and images on pages and on openings. This development becomes obvious on any reading-viewing of illustrated periodicals (of the Penny Magazine and of the Illustrated London News genre, of caricature magazines, and later on of ‹Familienblätter›: family magazines such as Gartenlaube) and books (for example Laurent’s/Vernet’s Histoire de l’Empereur Napoléon or Old Nick’s/Grandville’s Petites misères de la vie humaine). Nevertheless, little research has been done to investigate the changes that stereotyped wood engravings brought to the visuality of print culture.

There are some studies in manufacturing processes (paper stereotyping, electrotyping), but little in marketing strategies and their logistic and economic aspects. And almost no attention has been paid to the important role that stereotyped wood engravings play in the ambitious and dynamic visual culture of the 19th century.

We expect our Workshop to continue and/or initiate detailed explorative research in this field. Studies in stereotypes are particularly suitable to grasp the specificity of the print-media aspect of the visual culture of the period. Transnational trade in stereotypes provoked a cascade of changes in the relationship between letterpress and image in Europe and beyond. Both in terms of technical possibilities and in terms of the economics of publishing, it makes possible the emergence of the phenomenon, and of the term, ›illustration‹. In the process, the transnational flow of stereotypes encourages rearrangements of pictorial and verbal elements which are recombined and paratextually framed in convergent or divergent ways in different magazines and/or books in different locations. These recombinations alter the visual qualities of both typeset text and images, and draw attention to the flexibility of their relations, ranging from strictly word-governed pictures to typography with emphatic visuality. Analyzing these layout practices offers the opportunity to observe the emergence of a transnational verbal-visual syntax, as well as to witness the formation of local verbal-visual idioms.

We call for proposals for papers (in English or German) from book and media studies, from art and literary history, concerned with these or related topics. Papers should focus on the migration of stereotypes (principally of wood engravings), and its effects on the relations between letterpress and picture, or word and image, in the print-media culture of this period. Studies in economic aspects and market strategies of stereotype trading are most welcome, for example investigations of trade networks, or of logistic aspects of export/import practices. We will welcome studies which explore the impact of stereotype trading’s economic dimension on the visual design of illustrated magazine pages/openings.

-Contributions will be published in the research unit’s e-journal PeriodIcon. Studien zur visuellen Kultur des Journals / Studies in the visual culture of journals.

-Please submit your proposal (max. 500 words) and a short CV by February 15, 2109 latest to:
PD Dr. Andreas Beck: andreas.beck@rub.de
PD Dr. Madleen Podewski: madleen.podewski@fu-berlin.de

Participants will complete an edition of prints from metal plates worked entirely without acids, using a printmaking technique generally called drypoint. The drypoint medium is a wonderful means of drawing directly on a metal plate, without toxic chemicals or complicated technical sequences. Participants will make prints from metal plates worked entirely without acids, using drypoint, roulette, mezzotint, sandblasting, and engraving, exploring materials not usually associated with intaglio, such as sandpaper, stamping, and power tools. We will further learn to alter the surface of the plate with the scraper and burnisher. Participants will develop their plates in the studio, printing frequently to assess the development of the image. We will explore varied approaches to printing, emphasizing the skills of hand-wiping a plate, and printing a small edition from each plate.