The British Museum’s Department of Prints and Drawings is home to the national collection of works on paper, and one of the most important collections of its kind in the world. Approximately 50,000 drawings and over two million prints chart the development of the graphic arts in the western tradition from the 1400s to the present, with comprehensive holdings of the principal artists, as well extensive collections of historical, satirical, portrait prints, book illustrations, and an important collection of Georgian printed ephemera and trade cards.

We are seeking to appoint the inaugural Monument Trust Visiting Fellow, a full-time researcher, and scholar, expected to spend at least three days a week for a period from 6 to a maximum of 12 months in the Department of Prints and Drawings. The aim of the Fellowship is to initiate or substantially develop original research principally focussed on the British Museum’s graphic collection, but not excluding the opportunity to look at related material in other areas of the collection. Applications from scholars in fields not usually associated with the study of the graphic arts (such as history; geography; modern and classical languages; literature; and social and political sciences) are also welcomed as the Fellowship is intended to encourage new approaches and perspectives on prints and drawings. The Fellow will work in the busy, open-plan Prints and Drawings Study Room, have access to all parts of the collection and to the library, and will be expected to participate in the activities of the Department and contribute to the department and wider Museum throughout the Fellowship period. At the conclusion of their Fellowship they will present their collection-based research at a seminar for curators, cataloguers, and invited scholars.

Provide day-to-day support to the Prints & Multiples Department in London, supporting the Sale Coordinator with the organisation of the sales and providing general administrative support to the department.

Key Responsibilities/Tasks: (Duties include but are not limited to the following)
· Support the Sale Coordinator and the team in the day-to-day running of the Department
· Ensure all telephone calls are answered and messages passed on
· Maintain stationery supplies in the Department
· Responsible for collecting and distributing post daily, arranging couriers, sending out catalogues
· Liaise with IT to resolve any issues with office equipment, maintain printers
· Assist Specialists and Sale Coordinator with emails and letters to clients and travel arrangements
· Assist the Sale Coordinator with tracking incoming works for sale, and gathering consignment paperwork
· Support the Sale Coordinator with the Stock Clearance project by creating a tracking system and liaising with Art Transport to organise return shipments
· Assist with the organisation of hand-carries and restoration transfers, where appropriate
· Respond to image and factsheet requests, assist specialist team with client requests during sale week
· Support Business Intelligence Analyst with gathering competitor results for market share


Skills/Competencies Required:
· Interest/knowledge in Prints
· Strong organisational skills and a demonstrated ability to multi-task and prioritise
· Excellent communication and interpersonal skills, including superior written and spoken communication
· Language skills (fluent in English and working knowledge or French, German or Italian useful)
· Strong follow-up skills with attention to detail
· Good team worker and willingness to help out when neede
· Ability to remain calm in stressful situations
· Ability to demonstrate client facing experience
· Strong IT skills with proficiency in Microsoft Office (mainly Excel, PowerPoint, Word, Outlook)
· Ability to learn Christie’s systems including COS, J.D.E., intranet and website

Christie’s, the world’s largest Art Business, is an incredibly exciting & enriching place to start or continue your career. Whether you work within one of our Specialist Art Departments or in our more Operational focused teams we are all working together with one common goal in mind: to continue the success of this 250 year old company, steeped in history, bringing constant innovation whilst not forgetting our age old values; Passionate Expertise, Exceptional Client Service, Teamwork, Integrity, Business Judgement & Innovation.

The Role

The Cataloguer position contributes to the production of all auction catalogues for the New York sales as well as private sales. Responsibilities include processing the consigned works of art for sale, including research and catalogue entry writing and proofing; coordination of photography, and varying duties as dictated by department.

Specific duties & responsibilities will include but are not limited to:

Research property for bibliography, provenance and exhibition history using libraries, on-line databases, the internet, and outside experts (such as curators, dealers, publishers, etc.)
Catalogue property for auction and private sales using methods listed above in complete and proofed Christie’s format
Write and prepare catalogue essays
Coordinate production of all dedicated catalogues
Assist business-getters in preparing documents for potential consignments (e.g. proposals)
Flag any authenticity and restitution concerns and condition issues in timely manner to appropriate specialist and expertise coordinator
Undertake research in support of insurance appraisal documents
Proof all cataloguing with specialists before submitting final proof to Catalogue Production
Prepare property for hilling sessions (meetings to determine value, condition and marketability of property); and amend catalogue sheets after hilling sessions
Prepare condition reports in the system and forward to clients upon request
Assist clients in galleries during pre-sale exhibition and sale week
Maintain department library and research materials
Assist with catalogue production where needed
Coordinate photography, color checking, framing, matting, and restoration
Track sale cost expenditures and coordinate with the sale coordinator to ensure execution of payment to vendors
Ensure accuracy of lot cards (production and placement in pre-sale exhibition)
Maintain sale images in media library and in JDE (monitor progress, liaise with photo studio on missing images, deadline constraints)
Responsible for client correspondence, including auction estimate requests, general enquiries, sale proposals and post-sale communication to clients
Greet/visit clients on-site and off-site to support appraisal, consignment and sale efforts
Participate in Telephone Bidding with clients during the auction
Other duties as assigned by Manager

The Candidate

Bachelor’s degree in the fine or decorative art category preferred, or equivalent work experience. Master’s degree preferred.
Minimum 2 years paid experience in the Arts
Knowledge of E-mail, Spreadsheet, Word Processing and Presentation software (Microsoft Office preferred)
Ability to learn Christie’s systems including COS, JDE, intranet and website.
Strong typing skills
Excellent communication and interpersonal skills, including superior written and spoken communication
Superior client service skills
Ability to remain calm in stressful situations
Demonstrated ability to multi-task and prioritize
Strong follow-up skills with attention to detail

STUDIO IMMERSION PROJECT FELLOWSHIP (SIP)

Studio Immersion Project (SIP) is an intensive 3 month studio fellowship designed to immerse artists in the world of printmaking. SIP Fellows will acquire new techniques and build upon existing skills. Artists, from all media, interested in making printmaking a regular part of their creative practice are invited to apply.

SIP Award Description
1 year EFA RBPMW membership
3 months unlimited EFA RBPMW studio access
Monthly stipend
Materials stipend
6 session SIP Orientation Program
Includes: In depth studio orientation, basic intaglio, lithography, screenprinting, relief and monotype techniques.
3 EFA RBPMW classes picked from Summer Class Schedule
Group exhibition in 20|20 Gallery the summer after fellowship year
Scheduled project consultation with EFA RBPMW staff printers
3 month material & supply storage
Access to exhibition and portfolio exchange opportunities through EFA RBPMW membership

"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.

Interdisciplinary workshop: "Embodied concepts - personifications as carriers of religious knowledge in art and literature of the pre-modern"

To give abstract concepts by personification a physical shape and a voice that is from antiquity aesthetic procedures in art and literature. This not only served to enliven and conviction of the listener or viewer, as it is formulated in rhetoric treatises from antiquity to the early modern period. The transfer of an abstract concept into a concrete physical form has also provided an illustration and regulations of the respective concept and the associated knowledge. This process could thus also contribute to the updating, production and transformation of knowledge. Accordingly basis of the workshop is a Personifikationsbegriff who does not just understand this aesthetic process as repetition of the same design elements and attributes, but attaches his own epistemic potential.

The workshop takes particular forms, strategies and functions of the embodiment of concepts in the view that can be classified as so important for the pre-modern range of religious knowledge. These include philosophical and theological concepts such virtues and vices ("Faith," "justice," "Envy", etc.) or abstract concepts ("truth", "church", etc.). But even personifications from the fields of nature, science or the arts can be related to various religious knowledge. As these bodies of knowledge are themselves subject to continuous changes, adjustments and negotiations, the obvious question is what the consequences were taking place transformation processes for the visual and linguistic personification of the respective approaches.

The contributions of the workshop can broach concrete examples from all media and genres of art and literature. But the subject of the lectures can also theoretical reflections on the personification of abstractions, such as the theory of art or poetic writings. Questions that can thereby be in the foreground, are:
- How to convey, create, add to or alter the respective personifications (religious) knowledge? What is the intention was followed by that? What features and strategies were conducting?
- What was the role of concrete production and reception context of a work for the design of personification and the choice of a particular medium?
- What consequences had the changed meaning or interpretation of a concept for its personification? What is the relationship of (iconographic, literary, theological ...) Tradition and Transformation can be observed?
- Which individual logic, problems or frictions arose in transmitting the Abstraktums in a concrete physical form? How were these reflected?

The interdisciplinary workshop is organized by graduate students of the graduate program "Religious knowledge in pre-modern Europe" at the University of Tuebingen. It is particularly aimed at young scientists * inside from all humanities disciplines. To promote the intensive interdisciplinary conversation, the talks will be discussed in detail in each case on the basis of formulated hypotheses and questions of the presenters.

Please send an abstract for a 20 minute presentation (max. 500 words) in addition to a short biography (max. 300 words) to michael.neumaier@uni-tuebingen.de and mariam.hammami@uni-tuebingen.de

Travel and accommodation costs are anticipated to be incurred. For questions, please feel free to contact:

Michael Neumaier
University of Tübingen
Research Training Group 1662 "Religious knowledge in pre-modern Europe"
E-mail: michael.neumaier@uni-tuebingen.de
Tel .: +49 (0) 7071 / 29-77334

or

Mariam Hammami
University of Tübingen
Research Training Group 1662 "Religious knowledge in pre-modern Europe"
E-mail: mariam.hammami@uni-tuebingen.de
Tel .: +49 (0) 7071 / 29-77316

Responsibilities:
The Morgan Library & Museum is pleased to announce the Moore Curatorial Fellowship in the Department of Drawings and Prints. This one-year appointment, eligible for a one-year renewal, provides the opportunity to gain firsthand experience and professional training in curatorial work and in the study and connoisseurship of old master and nineteenth-century drawings. The Moore Curatorial Fellow will be a fully integrated member of the department, with duties and responsibilities comparable to those of a curatorial assistant or assistant curator. The Fellow will have the opportunity to conduct research on the Morgan’s collection of European drawings before 1900—one of the finest in the country—and to contribute significantly to all phases of exhibition planning, organization, and installation; museum education; publications; and other departmental activities.

In contrast to the fellowships offered by the Morgan Drawing Institute, which are designed to provide support for scholars working on their own research projects, the Moore Fellowship is intended to offer a varied and practical training in all areas of curatorial work to those interested in pursuing a career as a museum curator, particularly in the field of drawings.

Qualifications:
Doctoral work beyond the M.A. in the history of art, with preference given to those having recently completed a PhD.
Proficiency in at least one European language.
Demonstrated commitment to scholarship in the field of drawings. Candidates with an interest in British and/or Spanish schools are particularly encouraged to apply for the fellowship in 2018-19.
Excellent writing and public speaking skills, together with the ability to interpret exhibitions for a wide audience.
An interest in and enthusiasm for museum work, and the ability to work collaboratively and to approach a broad range of tasks with a positive outlook.
To apply:
Please submit electronically a cover letter addressing your interest in the Fellowship, a complete curriculum vitae including language proficiencies, a writing sample, and names of three references to drawingsadmin@themorgan.org.

The Fellowship term will begin in September 2018.

We are a collaborative fine art printmaking studio. We produce large format exhibition prints and limited editions for artists, galleries, and museums using digital imaging tools and traditional printmaking sensibilities. We seek a full time Assistant.

The ideal candidate would have a passion for art and dedication to craft. An eye for detail is of utmost importance as we rely on the print assistant to inspect the final prints. You must have knowledge of how to handle many types of papers and materials. You must be comfortable and disciplined with machines and techniques and be meticulous in every way. You must demonstrate a willingness to jump into administrative duties and the fast-paced day to day workings of a printing studio.

We are looking for someone reliable, with a strong work ethic. Someone who is professional and cordial with clients at all times, and has the ability to work with many types of personalities is a must. You will be interacting with our clients, our team and the company at large.

You must:

-Be a self starter.
-Have ambition.
-Respect for privacy and have discretion.
-Manage your time and be able to prioritize tasks from clients and imagers to meet deadlines. Fluid workflow with ability to go from one project to another and back.
-Have excellent interpersonal, communication and writing skills.
-Be passionate and have the willingness and ability to learn and pick up skills quickly.

Duties include but are not limited to:

Administrative duties include making quotes and invoices, answering phones, submitting payments and communicating information to clients
Inspecting, trimming and packing prints. Hand spotting and retouching when minor flaws can be repaired
Preparing packages for shipment or messenger
Maintaining pigment printers on a regular basis
Working with multiple imagers to maintain a healthy workflow; ability to prioritize and communicate a must
Cleaning and tidying the studio on a continuous/daily basis
Writing blog posts

Photoshop, Filemaker and iWork a plus; Intelligence, clarity and a willingness to learn is critical.

You must be comfortable working with machines and be meticulous in every way. A motivated and highly talented individual may have the opportunity become an integral part of the team.

A painting or printmaking background is preferred but photographers will be considered. Any experience/understanding of mounting and framing a bonus.

Designers need not apply.

Application Instructions / Public Contact Information ---------

Please email your cover letter and resume to yourfuture2@laumont.com. Use 'Assistant' as the subject. NO CALLS PLEASE. Send your resume as an attachment as well as paste it into the body of the email.


http://laumont.com/

Researches the Museum’s collection and archives vis-à-vis departmental projects, acquisition efforts, and other related departmental efforts, and answers inquiries with regard to such information. With curatorial peers, or individually as indicated, conceives of, plans, and executes collection installations and exhibitions. Assists senior curators with all aspects of research, planning, organization, and realization of major exhibitions. Writes, edits, and assists in the production of Museum publications and exhibition-related materials, including wall texts and extended object labels. As directed by chief curator, represents the department to Museum trustees, donors, patrons, curatorial colleagues at other institutions, artists, and galleries. With chief curator and senior curatorial staff, seeks and recommends the acquisition of works on paper by contemporary and emerging artists, both purchases and gifts. Collaborates on exhibition programs and related public programs, with a special emphasis on works on paper by contemporary and emerging artists. Serves as a liaison with outside persons and organizations and with other departments within the Museum. Instructs and supervises curatorial staff and interns as assigned. Works on and/or supervises one or more departmental teams focused on a core department function (e.g., cataloging, website, storage, acquisitions research, imaging, provenance, affiliate groups, etc.). Keeps informed of current activity in the area of departmental interest, particularly contemporary and emerging artists, through gallery and Museum visits, publications, etc., and makes recommendations to senior staff. Reports to Chief Curator and senior curatorial titles.

Requirements
- Master’s degree in art history or higher.
- Museum curatorial experience in a responsible position and proven expertise and judgment in a responsible position in a related field.
- Demonstrated initiative, discernment, and administrative ability.
- Expertise and focus on contemporary art and emerging artists.
- For both collections and exhibitions, knowledge and competence to conduct or supervise, as well as to initiate, research, prepare, catalog, and maintain works of art and to organize and communicate related information.
- Strong knowledge of global histories of drawings and prints, as well as current practice of contemporary and emerging artists producing works on paper and their connections to other mediums.
- Competence participating in the general administration and core logistical functions of a museum curatorial department.
- Ability to initiate, direct, and install exhibitions and to write supporting publications.
- Competence to select and recommend acquisitions and to solicit gifts.