The Bibliotheca Hertziana – Max Planck Institute for Art History in Rome offers research grants with a duration of three months to

Museum Curators

for projects on Italian art in conjunction with their respective museum activities (e.g., curatorial research for the preparation of an exhibition, an inventory catalog, etc.).

Grant recipients get free access to all the research facilities of the Bibliotheca Hertziana and may participate in the institute’s scholarly events. It is expected that they reside in Rome for the duration of the grant and give a final lecture about their research project. Residents of Rome and its province are not eligible.

The application deadline for the 2018 grants is October 15, 2017.

Applications must include a summary of the candidate's research project (max. 3 pages), CV, list of publications and an indication of the desired grant period, and should be sent by e-mail or mail to:

kubersky@biblhertz.it

Dr. Susanne Kubersky-Piredda
Senior Scholar
Bibliotheca Hertziana
Max-Planck-Institut für Kunstgeschichte
Via Gregoriana 28
00187 Rome

A two-day international conference funded by the Terra Foundation for American Art, in conjunction with the Départment d’Etudes Anglophones at the University of Strasbourg and the Centre for American Studies at the University of Kent.

Keynote speakers: Pamela Lee (Stanford University), David Herd (University of Kent) and Stephen Collier (Simon Fraser University)

This conference investigates spatial representations and practices in postwar US literature and art, and their intersection with mapping. We are particularly interested in the ways in which American space is constructed, imagined, reconfigured, displaced, and questioned in writing and in artistic form. The conference will examine the specificity of the literary and artistic appropriation of cartographic tropes, as well as the possible points of convergence and divergence of literature and art in relation to mapping and the material culture of mapping.

Art and literature have rarely been treated together with cartography in the same equation. Literature and mapping, on the one hand, and art and mapping, on the other, have already been discussed in bilateral configurations, but this conference attempts to place them side by side, and ideally to inaugurate a dialogue between the two, with the aim to encourage the articulation and confrontation of literary, artistic, and cartographic thinking.

In the past decades there has been an ever-growing body of work on the intersections of literature, art, and geography (“the geohumanities” and “spatial turn”), and several exhibitions on “art and mapping”. The conference aims to draw on the conceptual foundations that have begun to coalesce around the figure of the map and to bring together these disciplinary strands. The conference would also like to offer an opportunity to reflect on the reasons for the explosion of the interest in maps and mapping in literary texts and artistic practice after World War II.

We invite proposals for papers and panels that address maps and mapping in postwar American art, literature, or both. Possible topics may include but are not limited to:

- Art and the material culture of cartography
- Cartographic inadequacy as aesthetic premise
- Earthworks: the dialectics of site and non-site
- Grids
- Contingent mapping: walking as an aesthetic practice
- Artist’s books and mapping
- The legacy of Situationism in the United States
- Cold War ideologies and mapping in art and literature
- Maps and American imperialism
- Mapping the medium
- Mapping as metaphor
- Counter-mapping
- The cartographic trope in theory
- The limits of the cartographic imagination
- The aesthetics of maps
- The significance of cartography for individual artists and writers


Please submit an individual proposal of no more than 350 words or an outline for a 3 paper panel proposal to cartographicimagination@gmail.com by 30 November, 2017. Papers will be limited to 20 minutes. Please include your name, a short bio, and email address in your proposal.

Registration for the conference will be free of charge. Registered students may indicate that they wish to be considered for a small bursary to offset costs of travel and accommodation.

Please email enquiries to cartographicimagination@gmail.com.

Can movement be seen in a positive light before the development of the notion of sensitivity in the eighteenth century and the contemporary period? In Paul Valéry’s Eupalinos, Socrates presents the work of art as primarily concerned with movement – it is lively because it is mobile and touching on account of its very changeability. Yet in the Middle Ages, movement is frequently seen as agitation, representing madness or demonic possession. Rather than gesture, it is gesticulation, to be codified and curbed through monastic rule. However, situated between action and power, movement touches all categories of Aristotelian being. Moreover, movement is present in the visual arts: kinetic expression and the visual articulation of emotion appear in a variety of artistic movements, from Cluny through the exuberance of Rhenish art and up to the codification of the rhetoric of the passions during the Counter-Reformation.

Movement represents life itself or of the dissolution of the very being, yet can be seen as a fundamental aspect of that being. The conference aims to raise questions of how to think about and represent movement in order to place it in relation to a work of art. Particular attention will be accorded to religious art: does movement aid or hinder meditation, and what is its role in the fabrication of sacred images and devotional practices?

Movement will be examined from multiple points of view, including the creation and the perception of works of art from Antiquity through the Middle Ages to the Early Modern period. Perspectives from varied disciplines – archaeology, history, history of art, literature, theatre, sociology and philosophy – are welcome.


Proposals are invited on the following, non-exhaustive aspects of movement:

– Theoretical approaches to movement: philosophical or theological reflection; prescriptive texts including aesthetic or rhetorical treatises
– Movement and kinetics: the form, perception and significance of gesture, displacement and rhythm in the visual and performing arts (dance, theatre and other installations)
– The movement and mobility, whether singular or repeated, of works of art: commemorative or ritual displacement, processions, royal entrances or ostensions
– The means of making a work of art visible through moving parts: polyptychs, Opening Virgins or detachable parts
– Techniques of representing movement
– The relation of movement to the form or even identity of a work of art (variation, amplification or metamorphosis)

Languages : English, French, Italian.

Proposals for papers should be sent to one of the members of the Conference committee before 1 December 2017. Proposals should include the following:

– A title
– A short abstract (500 words) including the field(s) in which the paper falls
– The author’s University or research affiliation

Conference committee:

EA 4284 TrAme, UPJV, axe «Cultures Matérielles» / Material Cultures
https://www.u-picardie.fr/unites-de-recherche/trame/axes-de-recherche/

Morgan Dickson (Medieval Literature in English):
morgan.dickson-farkas@wanadoo.fr
Véronique Dominguez (Medieval French Language and Literature):
veronique.dominguez@aliceadsl.fr
Marie-Laurence Haack (History, Antiquity and Classics):
marie-laurence.haack@u-picardie.fr
Dominique Poulain (History of Art, Medieval):
dp-poulain@orange.fr
Philippe Sénéchal (History of Art, Early Modern):
philippe.senechal@u-picardie.fr

Today, images as media of knowledge production play a more prominent role than ever before. But this flood of images, e.g. in the new media, makes them seem problematic in relation to this function. Increasingly important in the situation is the question of how images are to problematize their own status as media of knowledge production – to exhibit this status on the one hand, and to call it into question on the other.

If, for example, we see the texture of a cracked glass in a landscape photograph, the disruption makes us aware of the material constraints of photography - in this case the glass negative. Only in this way does the photograph cease to appear as an equivalent of reality, is it revealed instead as an image that is bound to a particular medium, a carrier. Emerging now is a paradoxical amalgamation of two structures– landscape and glass plate – that exclude and cancel one another, which are able to converge only within the medium of photography, and as a consequence of its technical conditions, yet which ultimately remain irreconcilable in their visual impacts. This example demonstrates how images can develop specific strategies that take advantage of internal contradictions in order to generate insights. As the above-mentioned example shows, this form of knowledge production can take place on a purely visual level.

To date, confrontations with skeptical positions in art history have taken the form of attempts to relate philosophical movements of a certain timeframe to the iconography of images. The few publications which address skepticism at all are mainly restricted to the question of how specific philosophical texts are reflected in paintings or prints. The planned conference adopts a different approach. Explored explicitly will be visual discourses that cannot be traced back to translations of skeptical positions into images. Asked instead will be how images, due to their particular medial structure, become sites of performative processes that are comparable to the dialogical strategies of skepticism. A central thesis of this project is that contradictions and negations will inevitably occur here that have the character of a medial self-interrogation. A major role is played by the image’s capacity for negation, an issue that has been a topic of debate and controversy in relation to certain propositions by Ludwig Wittgenstein.

The aim will be to demonstrate how images generate internal tensions, and how they are able to operate with dialogical structures that unleash knowledge. One of the core questions is therefore whether visual skepticism can be regarded as a capacity of images, as an active power, a form of agency that is inherent to them and which is founded in their medial structure, e.g. in their iconic difference. Pictorial skepticism is understood here as an examination that renders internal structures visible through contradictions and deliberately displays them. Many images work with fractures through which they display the limits of their own artistic strategies by setting limits to themselves. This is a form of negation that is enacted within the image itself. Relevant in this context is Wittgenstein's insight into the negation of the image: "Can one negate a picture? No. And herein lies the difference between an image and a sentence." (Diaries, Nov 26, 1914) Proposed here with recourse to this argument is the hypothesis that visual doubt affects only partial aspects of the image, and can never call the image into question as a whole. The work can never oppose itself as a non-work. The category of the work can be questioned, split up, broken up into interminable processes, but the image can never cancel itself completely without simultaneously sacrificing its status as a work of art. In this context, the working hypothesis deliberately adopts a broad definition of the image, one that will hopefully be concretized during the course of the project, since one of our larger objectives is to pursue

A Doctoral Research Fellowship is available at The Astrup Centre, which is situated at KODE in Bergen. The PhD will be supervised from and follow the PhD program at the Department of Philosophy, Classics, History of Art and Ideas (IFIKK), University of Oslo, and will both participate in and contribute to the activities at The Astrup Centre. The fellowship will provide an exceptional opportunity to combine academic research with the acquisition and development of curatorial skills.

JOB DESCRIPTION

Context for PhD
The Astrup Centre, funded by the DNB Savings Bank Foundation, aims to establish Nikolai Astrup’s position within the wider context of Norwegian and European art through research, publications – including catalogues raisonnés, exhibitions - public programmes and digital media presence. The PhD is intended to reflect and enhance this remit.

Scope of PhD
Nikolai Astrup has benefitted from a small number of publications derived from tertiary level research. However, a publication on his prints (2010) and recent research in conjunction with the 2016 international exhibition, ‘Painting Norway: Nikolai Astrup (1880–1928)’ and the proposed conservation programme for Astruptunet, the artist’s farmstead in Jølster, have revealed new material and insights, not least in his perception of, and responses to contemporary manifestations of mainstream modernisms.

While these could shape a PhD proposal, the candidate might also chose to investigate one or more of the following topics, although these are not proscriptive:

- Astrup and Nordic Modernism
- Astrup’s international contexts – from Symbolism to Expressionism: indebtedness
vs personal innovation
- Astrup and Japonisme
- Astrup and the meaning of landscape
- Astrup as writer – letters, essays, artist’s notes, and their languages
- The cultural milieu of Astrup and the consolidation of national identity – authors,
fellow artists, collectors
- Astrup as draughtsman – drawings, prints

The art history department within IFIKK has Nordic modernism as one of its prioritized areas. This will ensure that the candidate will be working in a stimulating and creative research environment. The academic work is to result in a doctoral thesis that will be defended at the Faculty with a view to obtaining the degree of PhD.

As a part of the PhD, the candidate will obtain curatorial training through the Astrup Centre’s activities, which involves documentation, collection management, curating and public programmes, and be a part of an interdisciplinary professional museum environment. The appointment is for the duration of four years; it is envisaged that 75% of the time will be spent completing the doctoral programme provided by the University of Oslo, and 25% working in designated areas within the Astrup Centre, KODE.

QUALIFICATION REQUIREMENTS
- Applicants must hold a Master’s degree or equivalent in Art History or other relevant discipline. The Master’s Degree must have been obtained by the time of application.
- Fluent oral and written communication skills in English, as well as an ability to read historical Norwegian sources in Riksmål and Landsmål
- Personal suitability and motivation for the position
- In assessing the applications, special emphasis will be placed on:
- The applicant’s estimated academic and personal ability to complete the project within the time frame
- The applicant’s ability to complete research training
- The applicant’s motivation for curatorial training and museum activities at The Astrup Centre at KODE
- Good collaboration skills and an ability to join interdisciplinary academic communities

WE OFFER
- Salary NOK 436 900 - 490 900 per annum depending on qualifications in a position as PhD Research fellow, (position code 1017)
- Professionally stimulating work environments
- Curatorial experience within the activities of The Astrup Centre

FOR APPLICATION DETAILS, view External Link below.

Recent exhibitions have showcased the extent to which Los Angeles eclipsed New York in the 1960s and 70s becoming an epicenter for avant-garde printmaking. However, these surveys and their associated catalogues often fail to note the importance of Self Help Graphics in furthering aesthetic trends and expanding the notion of printmaking beyond its traditional scope toward participatory, experimental, and mobile collaborative projects. This edited collection proposes an intervention in the historiography of Southern California printmaking by expanding on the history of Self Help Graphics’ artistic legacy.

Founded in 1970 in the heart of East Los Angeles, Self Help Graphics (SHG) produces, exhibits, and distributes fine art prints by underrepresented artists. Through its acclaimed artist residency program and innovative arts education initiatives, SHG empowered and nurtured several generations of artists, particularly from communities of color, who have historically struggled to gain access to printmaking workshops. Since its inception the founders (Sister Karen Boccalero, Frank Hernandez, Carlos Bueno, and Antonio Ibañez) articulated a philosophy of creative social change, as well as a professionalization and commodity production process, as a publisher of limited editions, to help artists of color succeed in the art world of Los Angeles. Renowned artists such as Carlos Almaraz, Tomie Arai, Barbara Carrasco, Yreina Cervantez, Felipe Ehrenberg, Diane Gamboa, Raymond Pettibon, and Patssi Valdez, excelled through their atelier program, working closely with master printers in the production of fine art serigraphs. SHG was also a meeting ground for youth cultures as evidenced in the underground punk scene at the Vex, a unique music venue housed at SHG. As the organization approaches its fifty-year golden anniversary, the editors of this collection want to galvanize on this moment and work collaboratively with fellow scholars to contextualize the past five decades of graphic art production in one of the country’s longest running and most beloved community-based workshops.

In particular, the editors seek submissions that engage theoretical and methodological discourses in art history, visual culture, Latino Studies, and critical race theory. Themes might include, but are not limited to: decolonization, materiality, feminisms, pedagogy, placemaking, (post)modernisms, semiotics, performance, and social practice. Previous literature on SHG has been produced as part of exhibition catalogues, archival finding aids, as well as news and academic journal articles with limited circulation, but we envision an edited collection that reflects deeply on SHG’s fifty-year legacy and contribution to American art. To apply, please submit a 250-word abstract with a CV to kdavalos@umn.edu and tatiana.reinoza@dartmouth.edu by December 15, 2017.

This multi-year project will convene a symposium/panel in 2018 where selected participants will present papers and our working group will provide feedback. In the spring of 2019, essays will be due to editors and they will work closely with contributors during the revisions process. The editors anticipate submitting the anthology manuscript to an academic press in 2020 when the project will begin its production schedule.

Overview and Studios
The Artist Studio Program was launched in 2000 in response to the crisis of available affordable space for artists living and working in New York City. The program provides six eligible artists working in all visual arts media a free private studio space accessible 24/7 and a fellowship (dependent on funding). The program runs for an eleven-month period from June to May. The studios are located on the lower level of our building at 92 Plymouth Street in Dumbo, Brooklyn and range in size from 250 to 300 square feet. The program does not provide living space.

Production Facilities
Artists also have access to shared facilities that include: a state-of-the-art digital production lab, including a set of 27" iMac workstations professionally configured for video and graphics editing, calibrated video monitors, a 3D-capable HD projector, surround-sound monitor speakers, flatbed scanners, a wide-format photo printer, a color laser printer and wireless internet access; a fabrication shop including table saw, grinder, drill press, welding equipment, and hand tools; and a shared kitchen/lounge area. Our staff is on-hand to provide technical support and to respond to the studio needs of our resident artists.

Special Notes
Artists who are accepted into the program must be prepared to actively use their studio a minimum of 50 hours a month or they will lose it. Not all studios have windows. Artists will not be permitted to choose their studio. Please also note that due to the possibility of flooding in our basement studios, we strongly recommend that artists keep anything valuable off the floor at all times; therefore artists accustomed to working on the floor should think carefully about whether our studios will meet their needs.

Application and Selection Process
To apply to the 2017-2018 season, visit our How to Apply page. Please review the eligibility and application guidelines carefully before beginning your application. Each year, Smack Mellon convenes a panel of arts professionals to select the artists from over 600 applicants. A group of finalists who are not selected for the Studio Program are featured on our Hot Picks page for one year.

Open Studios and Studio Visitors
Smack Mellon hosts two Open Studio events annually, as well as sponsored visits from curators, critics and gallerists, which provide significant exposure and invaluable career building opportunities. Please see the list below of studio visitors.

In addition to monthly studio hours, artists are expected to help at Smack Mellon's benefit the first weekend in May and make themselves available for studio visits with school groups and other tour groups outside of Open Studio event hours. These service hours total about 12 hours for the residency year.

This is to announce a workshop at Waddesdon Manor in conjunction with the exhibition Glorious Years: French Calendars from Louis XIV to the Revolution. The workshop will explore themes around the production and consumption of French 17th-and 18th-century almanacs (book and print formats), while also looking at the broader context of the history of Time and its depiction during this period. Our distinguished speakers are drawn from across disciplines.

To register an interest in attending please email diane.bellis@nationaltrust.org.uk. A charge of £25 covers all catering costs. To secure a place, please call the Waddesdon booking office 01296 820414 (open 10:00–16:00) to pay using either a debit or credit card. If you have any dietary requirements, please let us know when you book your place.

P R O G R A M M E

10:00 Registration and coffee (Manor Restaurant)

10:30 Welcome and introduction by Pippa Shirley (Head of Collections, Waddesdon) and Rachel Jacobs (Curator, Waddesdon)

10:50 Morning Presentations
• Maxime Préaud (formerly conservateur général, département des Estampes et de la Photographie, Bibliothèque nationale de France), Les relations entre la France et l’Angleterre pendant le règne de Louis XIV, selon les almanachs muraux français
• Stephen Boyd Davis (Professor of Design Research, Royal College of Art), La Science des Temps: New Ideas of Time in the Eighteenth Century

12:10 Visit the exhibition Glorious Years with curator Rachel Jacobs and Adam Dant (Artist), The Mother of Parliaments: Annual Division of Revenue: A Print for the British Electorate, 2017. Information on Dant’s commissioned almanac is available here.

13:00 Lunch in Manor Restaurant

14:30 Afternoon Presentations
• Véronique Sarrazin (Maître de conférence d’histoire modern, Université d’Angers, Laboratoire CERHIO), Livres et estampes, deux économies de l’almanach dans la 1ère moitié du XVIIIe siècle à Paris
• Matthew Shaw (Librarian of the Institute of Historical Research, School of Advanced Study), Almanacs for a New Era: The French Republican Calendar

16:00 Drinks with a chance to visit the manor and exhibition

The J. Paul Getty Museum, Los Angeles is seeking a highly motivated, self-starting individual for a full-time, limited-term position (three years) of Assistant Curator in the Department of Drawings. Develops, administers, oversees, and interprets the drawings collection through exhibitions, original research, and publication in collaboration with Museum colleagues. Uses scholarly background to serve as a resource to visitors and staff and to advise in the development, execution, and/or supervision of art education and information programs.

Major Job Responsibilities ---

Applies advanced knowledge of art history and art education to curatorial assignments of moderate complexity
Performs scholarly research
Coordinates rotation exhibitions from the collection and assists development of larger exhibitions
Safely handles and considers framing and conservation of the collection
Participates in the preparation of acquisitions proposals and makes acquisition recommendations to the senior curator
Shares in the administration of incoming and outgoing loans
Participates in major push to catalogue the collection fully and bring it online
Participates in photography of the collection
Shares in monitoring study room
Assists with activities and maintenance of the Disegno Group, the Drawings Department council
Contributes to the on-line presence of the department through social media
Travels and networks internationally to develop relationships with other professionals
Publishes and lectures in area of specialization and gives presentations and exhibition tours to visiting groups
Supports scholarly visits and requests

Qualifications ---

Master’s degree in art history, art or art education OR 2-4 yrs of curatorial experience OR Ph.D.
Fluency in at least one foreign language (modern or ancient) required
Competent to work in most curatorial functions

Knowledge, Skills and Abilities ---

Deep knowledge of western art history
Specialty in German drawings preferred
Reading skills in two or more modern foreign languages preferred
Conversational skills in one or more foreign languages preferred
Strong written and verbal communication skills
Ability to work in team-based and collaborative environments
Ability to set and meet deadlines
Experience with Windows-based software and database systems; TMS proficiency preferred
Strong interpersonal skills to work effectively with a wide range of staff and outside professionals
Project management abilities

Expands and deepens the Gallery’s collections through the acquisition of works of art of the highest quality and relevance. Closely follows the art market, maintains cooperative contacts with dealers, and cultivates close relationships with collectors, and ensures that subordinate curators do the same. In consultation with the Senior curator, proposes discretionary purchases to the Director and Chief Curator, and major purchases in writing to the Board. Attracts single objects and collections as gifts, as well as funds for acquisitions, from private sources.

Ensures the safety, physical organization, up-to-date documentation, and reliable access to the collection of European prints and illustrated books before 1900. Advises on conservation treatment. Collaborates with other division staff on housing. Performs and/or delegates scholarly work to ensure proper identification and cataloguing of works of art. Ensures timely and accurate maintenance of database entries. Sets priorities for documenting the collection. Evaluates loan requests from other institutions.

Develops concepts and themes for special exhibitions and installations of permanent collections. Organizes or coordinates exhibitions on a regular basis; initiates, selects, negotiates loans, performs research, and writes catalogues and other publications for exhibitions. Researches and selects relevant didactic photographic materials. Researches, writes, or reviews accompanying scholarly texts. Writes or consults on the preparation of brochures, leaflets, wall texts, essays, catalogue entries, films, web features, and other interpretive programs for collections and exhibitions.

Initiates and/or oversees development of research and publishing projects. Writes, lectures, and consults on scholarly matters. Writes or reviews texts for the website, brochures, leaflets, and other Gallery publications or scholarly studies. Researches, writes, or reviews scholarly texts related to collections, acquisitions, and loans. Writes or consults on the preparation of brochures, leaflets, wall texts, essays, catalogue entries, films, web features, and other interpretive programs, and other Gallery publications or scholarly studies.

Is responsible for formulating and implementing the department’s strategic plan for acquisitions, research, exhibitions, and other programs, in consultation with the Senior Curator. Manages the financial and personnel resources of the department, including acquisition funds, travel budgets, exhibition grants, and exhibition budgets. Schedules and coordinates the in-house activities of the department. Supervises associate and assistant curators as well as fellows in the department. Assigns routine and special projects, provides direction, monitors progress, and evaluates results. Writes job descriptions, performance plans, and award recommendations; conducts informal and formal performance appraisals annually. Hires new subordinate staff as vacancies occur.

Responds to, or directs staff to respond to, public, scholarly and other professional inquiries. Attends professional meetings and lectures, participates in symposia. Accepts or initiates opportunities to collaborate with Gallery colleagues and counterparts in other institutions. Speaks to visiting groups and the press.

Must be available for periodic weekend duty.

Travel Required
Occasional travel - Must be available for U.S. and European travel, up to 7 days per trip (10% of time).