A graduate seminar on Print Making and Collectives across the Americas utilizing the Print Collection of the New York Public Library with specialist David Christie. It provides an opportunity to explore print-making via hands on experience with this fantastic collection. It is offered through CUNY Graduate Center's Art History Program Tuesdays 10-12:00 (one of our last Mellon seminars).

Feel free to contact the professor via email (kmanthorne@gc.cuny.edu) for more information.

WHAT: A two-week program in the history and contemporary practice of publication.

WHERE: The program will take place for one week at Triple Canopy’s venue in Manhattan and for one week at the RISD Museum in Providence, Rhode Island; it will include visits to studios of artists and designers, archives, and cultural institutions.

WHO: We invite applications from recent college graduates, graduate students, and those with comparable experience; we discourage applications from those with much more experience. Prospective participants might have backgrounds in areas such as writing, art, literature, art history, technology, and design.

COST: Tuition is free, though participants must arrange and pay for their travel and accommodation. All reading and viewing materials will be provided free of cost.

APPLY: Online through 11:59pm on Sunday, April 29.

During the Publication Intensive, Triple Canopy editors and invited artists, writers, scholars, designers, publishers, and technologists will lead discussions and workshops. Participants will research, analyze, and enact an approach to publication that hinges on today’s networked forms of production and circulation but also mines the history of print culture and artistic practice.

The Publication Intensive will address such questions as: How have artists, writers, and designers used the pages of magazines and books as sites of and material for experimentation? How have new-media publications challenged conventions of authorship and reception, only to have those very challenges soon become the foundation of the new economy? How have people responded to ensuing changes in the media landscape? And how have responses differed in areas with disparate resources and relationships to technology? What are the politics of access and identity associated with online public forums and media?

In the second week of the Publication Intensive, participants will work with Triple Canopy editors on the development of an upcoming issue that will act as the magazine’s contribution to an exhibition at the RISD Museum in 2019, “Raid the Icebox Now.” (“Raid the Icebox Now” marks the fiftieth anniversary “Raid the Icebox I with Andy Warhol,” a landmark of artist-curated museum exhibitions.) Triple Canopy has been invited to engage with Pendleton House, which was created to display the 1904 bequest of Charles L. Pendleton (1846–1904), who has been called the “father of art as applied to furniture”; his superlative collection was meant to demonstrate to the public the merit of American design. Pendleton’s furniture is now on view alongside selections from the museum’s collection, which range from portraits of colonial aristocracy to Chinese ceramics. Pendleton House exemplifies a rarefied lifestyle: that of an eighteenth-century gentleman “with taste and wealth,” according to the museum’s 1904 catalogue. But, from the perspective of the present, Pendleton House also speaks to an incessant flow of commodities, ideas, and bodies—and the extraordinary labor of nevertheless constructing a national identity that appears to be constant and indigenous.

With Publication Intensive participants, editors will speak about how identities are cultivated through the circulation of goods, the branding of native expressions, and the repurposing of foreign styles. We’ll ask how creative acts might effectively displace historical figures and styles, superimpose the present on the past. We’ll consider how various approaches to publication might forge new (and resurrect old) narratives around artworks and homewares—and, in so doing, work against the kind of rhetoric in which artificial images of bygone days form an idealized vision of the future.

For all related inquiries, write to edu@canopycanopycanopy.com, and for more information, please click on the 'External Link' below.

The prints of Rembrandt Harmensz. van Rijn (1606-1669) have captivated collectors for centuries. Still, much remains to be learned about his printing and production process. The dearth of contemporary documentation about Rembrandt's printing studio, along with the frequent posthumous reworking and reprinting of his plates, foreground the importance of studying paper characteristics in tandem with print connoisseurship, to continue the establishment of a Rembrandt printing chronology and bring further discoveries to light.

Watermarks-images imparted by paper molds to the European paper supports on which most of Rembrandt's etchings are printed-have become particularly essential in dating Rembrandt impressions. Building on Dr. Erik Hinterding's landmark 2006 study of Rembrandt watermarks, the WIRE project as represented in a current touring exhibition, is building a digital platform to further Rembrandt scholarship by enhancing access to detailed information about the over 200 batches of paper used by Rembrandt.

In this five-day residential workshop, set against the beautiful backdrop of the Finger Lakes region, a small student cohort will learn about the watermarks field and contribute to this important project. In addition to working intensively towards completion of individual branches of an interactive computer decision tree designed for the rapid identification of Rembrandt watermarks, students will:
- gain knowledge of the manufacture and imaging of historic papers;
- investigate Rembrandt's printmaking techniques with real works of art;
- become familiar with print connoisseurship and cataloguing; and
- discuss strategies for the visual and semantic differentiation of watermarks.

Other topics will include chain line matching for identifying "moldmates" in historic papers, and Rembrandt as marketer. The workshop is fully funded by NEH, and participants will receive room and board on Cornell campus. Applicants should be upper-level undergraduate or graduate students interested in printmaking, Rembrandt studies, paper conservation, and/or a general materials approach to the study of art. No programming skills are required.

Workshop instructors:
Dr. Andrew C. Weislogel, the Seymour R. Askin, Jr. '47 Curator, Johnson Museum of Art (aw27@cornell.edu)
Dr. C. Richard Johnson, Jr., Hedrick Senior Professor of Electrical and Computer Engineering and Jacobs Fellow, Jacobs Technion-Cornell Institute, Cornell Tech (crj2@cornell.edu)
Brittany R. R. Rubin, Print Room Curatorial Assistant, Johnson Museum of Art (brr55@cornell.edu)
Special guest speaker: Stephanie S. Dickey, Bader Chair in Northern Baroque Art, Queen's University, Kingston, ON

To apply, please submit a cover letter stating your interest in the workshop and detailing how its topics might serve your educational and career interests, accompanied by a CV.

Deadline extended! Send materials in a single PDF file to brr55@cornell.edu by April 27, 2018. Questions may be similarly addressed.

Artifacts collected from the streets and markets of Ghana will be transformed into evocative 2-dimensional collages and 3-dimensional assemblages. Collage and assemblage are excellent ways to explore Ghana and express your own creative instinct. The resulting combination of materials affords the opportunity to create new meanings by recombining objects, both cherished and banal with glue, nails, wire and ingenuity to make thoughtful works of art. Through this process we can find a new way to look at the elements themselves as well as profile the culture as a whole.

The 2 week workshop will take place at Aba House in Nungua, a fishing village in a suburb of Accra. down the road, fishermen carve boats from whole trees and we can see them fishing out in the ocean all day and night. Nungua has become an artists’ colony perhaps because of its proximity to Accra. There are potters, fantasy coffin makers, art galleries, and drummers. There are also market women, teachers, seamstresses and all the other citizens you find in any city. The beaches attract tourists and on the weekend, the live music at the nightclub pulls in a good crowd.

Aba House is a clay house with a thatched roof and the only mosaic murals this side of Accra. It is a cultural and guest house.There are 8 guest rooms with attached private baths. Cross Cultural Collaborative, Inc (CCC, INC) is a non-profit educational organization that promotes cultural exchange and understanding. At the core of CCC’s mission is the belief that interaction between African and non-African artists enriches the creativity of everyone. Breaking down stereotypical thinking leads to lasting friendships and an appreciation not only other cultures but one’s own as well.

For more information, please click on the 'External Link' below.

Study Course on the theory and practice of drawing. Connoisseurship - Collecting - Curatorial Practice

The study course is intended for PhD students and younger postdocs who deal in their research questions with drawing and are interested in working in graphic cabinets. We want to discuss new research and insight alongside curatorial practice at one of the world's most important graphic collections. The study course is organized by the Institute of Art History at the University of Vienna in cooperation with the Albertina and generously funded by the Wolfgang Ratjen Foundation.

Participants should present an aspect of their research in a 30-minute presentation for discussion as part of the study course. Should also be prepared to work collaboratively on selected drawings from the collection of the Albertina in order to gain insight into the curatorial life in the center via the course, including the design and installation of exhibition projects, publishing exhibition and collection catalogs, conservation and marketing, collection history and provenance research.

Accommodations and travel costs to and in Vienna will be covered (economy flights, 2nd class) up to 400 euros. The course will be conducted in German, although presentations on their own research projects can be done in English, French or Italian.

Management of the course of study is undertaken by Univ.-Prof. Dr. Sebastian Sagittarius. Applications should be sent with CV, a short explanation on the relevance of drawing to their research topic, and a letter of recommendation from a university lecturer by April 30, 2018 via e-mail to Univ.-Ass. Gernot Mayer to Gernot.mayer@univie.ac.at

The applicants will receive notifications by mid-May.

The Book: Material Histories and Digital Futures will explore how the book’s evolving material qualities promote and circulate cultural knowledge. As Nicole Howard, in The Book: The Life Story of a Technology, writes, “No other technology in human history has had the impact of [the book].” In addition to looking at the history of the book, we will also consider the present moment of the book’s evolution as a prologue to humanist innovation, as developing technologies, digital and multimodal, offer a host of new forms and distribution channels. We will explore how transformations in the book can change interactions between bodies of knowledge and individual human bodies. The four-week Institute will take place June 18 to July 13, 2018 at Salt Lake Community College (SLCC).

The Institute will consider the history of the book from material and embodied perspectives, studying how new and old forms of book technology and circulation impact the creation of and access to humanities scholarship and knowledge. The Institute’s activities will be hosted in the SLCC Publication Center, a multi-function space designed to enhance learning about the publication and circulation of print and digital documents. The Publication Center features a digital design lab and a print production room, with high-performance printers, various equipment for binding and hand-built book creation, and an etching press.

The Institute will offer college faculty who teach primarily undergraduates an immersive learning experience, with ideas, practices and projects that can be transferred directly to the classroom. Through the study of significant texts, interaction with notable visiting scholars, and historically contextualized book production, Institute participants will have multiple opportunities to broaden and deepen their understanding of the book’s history and future and to develop experiential teaching models. Historian Robert Darnton has described the history of the book and reading as “one of the most vital fields in the humanities.” Participants will be able to apply the scholarly and practical knowledge gained through the Institute to humanities teaching in multiple contexts: the classroom, scholarly publishing, student literary magazines, digital humanities projects, small-scale publishing projects, and more.

The Morgan Library & Museum invites applications for a traveling seminar in drawings connoisseurship and the art market. Led by Morgan curators John Marciari, Charles W. Engelhard Curator and Head of the Department of Drawings and Prints, and Jennifer Tonkovich, Eugene and Clare Thaw Curator of Drawings and Prints, the ten-day travelling seminar will take place in London, Oxford, and other locations in England from 26 June to 5 July 2018. The seminar will have a twin focus on the skills of connoisseurship and on the workings of the art market.

The seminar will begin with visits to some of the major collections of drawings in England, including the Ashmolean Museum, the British Museum, and the Royal Collection at Windsor Castle. Drs. Marciari and Tonkovich, together with host curators at those institutions, will conduct sessions exploring connoisseurial questions of attribution, condition, quality, and authenticity. The seminar will then turn its attention to the old master sales held in London during the first week of July. Seminar participants will meet with representatives from the auction houses and galleries, and they will be asked to write sample acquisition proposals, which will be reviewed and discussed by the group both before and after the sales. This second part of the seminar is intended to supplement the connoisseurial training of the first week with a practical grounding in the workings of the art market, thus training young curators in some of the skills necessary for them to advance professionally.

This program is tailored to art historians with a demonstrated commitment to a curatorial career in the field of old master and nineteenth-century drawings and less than five years of full-time museum work experience. Most applicants will be employed as an assistant curator, or a curatorial or research assistant, in a department of drawings and prints, or will hold or have recently held a curatorial fellowship. Advanced graduate students pursuing a doctoral thesis in which drawings play a critical role are also encouraged to apply.

The seminar will run from 26 June to 5 July. Travel, lodging, and meal costs will be covered by the program.

Applicants are asked to submit the following materials electronically, in a single pdf document, to drawingseminar@themorgan.org:

A letter summarizing your interest in the program, with an explanation of how participation in it will help you achieve your career goals.
A curriculum vitae that includes your name, title, affiliation, email address, and nationality/citizenship.
A letter in support of your application from your department head or director, if you are affiliated with an institution, or from your graduate advisor if you are enrolled in a Ph.D. program.
Application deadline: March 25, 2018.
Participants will be selected and notified by mid-April.

Questions about the program may be directed to drawingseminar@themorgan.org.

This seminar is supported by a major grant from the Getty Foundation, as part of The Paper Project: Prints and Drawings Curatorship in the 21st Century.

"The Printed and Digital Page: Reassessing Form, Content and Methodologies" will focus on printed and digital pages as both subjects and objects of research, ranging from magazines, newspapers, periodicals, books, zines and photo books to websites, databases and content management systems. Such artefacts raise methodological questions around the use of their content, as well as their design, production, materiality and consumption, in design historical doctoral research. This TECHNE supported PhD training day will consist of discussions on the challenges of working with printed and digital pages with PhD students and academics in design history and related areas in humanities, art and design. The event will attend to issues such: as the design, production and consumption of pages, including their imagery, typography, materiality and readerships; and how they can be both the medium, and result, of practice-based research. Looking at these objects 'close-up' will offer students the opportunity to discuss strategies for researching the printed page as both object and subject.

ELIGIBILITY
The day is aimed at doctoral students focused on, or interested in, design history and practice and whose research involves close study of the form and content of print and digital publications from the 18th century to digital equivalents in the 21st century. The day is open to students who are TECHNE studentship holders as well as PhD students more generally at TECHNE's partner universities (Royal Holloway, University of London; Kingston University; Royal College of Art; University of the Arts London; University of Brighton; University of Roehampton; University of Surrey).


APPLICATION PROCESS
Please send the following information to: Cat Rossi (c.rossi@kingston.ac.uk) and Vanessa Van den Berghe (k1436023@kingston.ac.uk) by 5pm on 11th March 2018:

- Name
- Affiliation
- Title of PhD research
- Short abstract of your research (max. 150 words)

Organisers: Vanessa Van den Berghe, Lucia Savi, Catherine Sidwell, and Dr Sarah Teasley, Dr Annebella Pollen, Professor Jeremy Aynsley, Dr Catharine Rossi.

The event is funded by the TECHNE Doctoral Training Partnership and organised by Kingston University, London, the Royal College of Art and the University of Brighton.

The Summer Institute for Technical Studies in Art (SITSA) is an intensive two-week workshop for Ph.D. candidates in art history with diverse backgrounds and research interests; it is designed for emerging scholars and museum professionals who believe that their thinking will benefit from more experience with object-based and art-technical investigations. Participants will engage with conservators, conservation scientists, curators, art historians, artists, and other makers in the interdisciplinary, collaborative environment of the Harvard Art Museums and the neighboring Department of History of Art and Architecture and other academic and cultural venues in the Greater Boston area. Under the direction of Francesca Bewer, research curator for conservation and technical studies programs at the Harvard Art Museums, SITSA will unite expert faculty to engage a cohort of 15 students in close looking, art making, and the scientific investigation of objects from the museums’ collections.

SITSA aims to introduce participants to the interdisciplinary approach that is core to the technical study of art and to build relationships that increase collaboration, enrich research, and enhance scholarship across the field of art history. It is generously funded by the Andrew W. Mellon Foundation, which in part allows the museums to provide each participant with housing and a stipend of $1,400 to help cover roundtrip travel costs, food, and incidental expenses for the duration of the program.

2018 Course Topic: Replication -------------------------

The 2018 institute will be dedicated to the theme of replication, both as an artistic process and as an art-technical research methodology. How do we gain a more nuanced understanding of the possible range of relationships between different iterations of an object? How can hands-on experimentation with artists’ materials and techniques, as well as reverse engineering of an artwork, open up new avenues of inquiry? These are among the questions to be explored during this summer’s workshop.

Whether using matrices such as molds and photographic negatives or working free-hand, artists and craftspeople past and present create copies or multiples of their work, produce artworks that are themselves multiples, and incorporate reproduction(s) into original works. Artists have also traditionally honed their skills through copying others’ works and artistic practices. In some traditions, copying is seen as an act of devotion. In other instances, replication has been adopted for greater dissemination or to serve remunerative ends. Archaeologists and art conservators attempt to replicate objects that they study to better understand artists’ working processes, the evolution of technologies, and how particular works were made and change over time. Increasingly, such hands-on methodology is being explored by art historians as well. Through the theme of replication, SITSA will consider authenticity, originality, reproducibility, multiples, copies, and other related topics.

Guided by experts, participants will explore the tools used routinely in conservation to gather evidence of manufacture, alteration, and restoration, and will carry out in-depth examination and documentation of select objects from the museums’ collections. Bronze casting, printmaking, and analog photographic printing are among the hands-on processes that will be attempted, in combination with close looking at works and conversations with artists. Students will engage in peer-to-peer teaching, discuss technical art history writing, and help formulate questions throughout the workshop. Together, the cohort will reflect on how the methodologies investigated during the workshop might inform participants’ scholarly interests.

Jonathan Ashworth returns to londonprintstudio to teach this beautiful and intricate skill. Just two hundred years ago Thomas Bewick was knocking out some of the most sublime wood engravings the world has seen. He set a standard in relief engraving and in the short while since many others have been inspired by the direct and demanding process to produce more work in this fashion, the best of which is as powerful as any other artistic medium despite their titchy size!

During this two day workshop the work of many different artists who have worked using the techniques of wood engraving will be presented, in order that each student can find an affinity with a particular maker and an inspiration for their work during the workshop and beyond. We will immerse ourselves in mark making, lose ourselves in the detail of these miniature world. The use of different wood engraving tools will be explained and demystified as will that of sharpening, transferring the image to the printing block and the subtleties of printing.

There are 8 spaces available on our Introduction to Wood Engraving Course, which are booked on a first-come first-served basis. If you have any queries or would like to book a place on this course please contact the studio on 020 8969 3247 or by email – courses@londonprintstudio.org.uk.

Alternatively you can also book our courses online by clicking on your preferred dates on the calendar below.

You will be taken to our secure payment gateway.

Price: £182.00 (£146.00 concessions) Including basic materials.

*Concessions are available to the following: Studio Members, unemployed, under 25′s, full time students, graduates of less than 2 years, senior citizens and disabled people. (proof of concession is required)