In this conference, we seek to explore the plurality of interpretations of the printed and written word in various writing systems, as well as an engagement with artefacts: whether handwritten, lithographed, typographically printed, or digitally conjured. We invite both scholars and practitioners, broadly in the areas of design, printing, publishing, typography and book history, to bring critical perspectives and present fresh approaches to the study and discussion of the visual and material aspects of print in the diverse linguistic contexts of the world.

The global history of text-based communication constitutes a particularly exciting facet of material culture, given the myriad ways in which its production, transmission, and consumption has been (and continues to be) accomplished across cultural and political boundaries. However, a critical engagement with script and print outside the western world has remained relatively limited despite a burgeoning interest in the interrelated areas of printing, publishing, design and type history. Studies of the ‘global’ and ‘regional’ cultures of print have tended to accommodate summary accounts and generalisations in relation to the material production of text in different languages and scripts, most commonly grouped under the term ‘non-Latin’. The time is long overdue for these narratives to expand, and address the rich variation and particularity of global practices.

Possible themes for the conference include, but are not limited to:

- Print, manuscript, and material culture from around the world
- Global and transnational histories of printing, publishing, technology, typography and type design
- Cultural and political dynamics in the visual/material representation of scripts and languages
- Social, political, and economic aspects shaping printing and publishing practices
- Networks and exchanges between or within print and manuscript communities, including but not limited to business, cultural, educational, and literary aspects
- Connections and interactions between various actors and entities, including but not limited to, artists, designers, linguists, manufacturers, readers, scholars, technologists, users, assembly/production-line workers
- Perspectives on technological change in the history of design, printing, technology, and typography, including but not limited to innovation, adaptation, resistance, and use
- Forms, formats, and usage of documents and publications composed in global scripts, including substrates besides paper; letters on stones, wood, fabric, ceramics, or digital media

Papers of twenty-minutes in duration are invited for this international conference from independent researchers, established scholars, postgraduate students, as well as artists, designers and practitioners working in the fields of history, book history, printing history, typographic history, print, manuscript, and material culture.

To apply, please send a suggested title, synopsis (up to 300 words) and short biography (150 words) via a PDF or Word attachment to: thevisualandthematerial@gmail.com

Deadline for proposals: 15 November 2017

Conference Date: 06/28/2018-06/29/2018, 11am–7pm

The International Fine Print Dealers Association (IFPDA) and APS are seeking graduate students and early-career scholars interested in giving guided tours to small groups during the annual Fine Art Print Fair, from October 26 through October 29.

Tours will take place at the Javits Center (655 W 34th St) and will last no longer than one hour. Applicants with availability on the evening of Friday, October 27, are of particular interest. Specialists in any subfield are welcome to apply, and tour guides will receive a honorarium ($150) for their participation.

If interested, please send a CV and an email with your availability to info@printscholars.org no later than September 29.


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Lighthouse Works is accepting applications from visual artists and writers for its 2018 Winter and Spring Fellowships.

Fellowships are six-weeks in length and provides room and board, studio space and $1,750 in stipends. Applicants are encouraged to read completely the guidelines found under the "Before You Apply" section of our website (http://www.thelighthouseworks.com/apply/). Please note, applications that fail to follow these guidelines will be dismissed unread.

While our staff reviews applications for completeness, a jury of professionals in each artist's field evaluates the applications. Finalists will be invited for a phone interview and all applicants will be informed of the committee's decision by December 15, 2017.

Fellowship Dates:

Winter - January 23 to March 6, 2018

Spring I - March 20 to May 1, 2018

Spring II - May 15 to June 19, 2018

The Department of Art History at Northwestern University will hold a one-day graduate symposium on Thursday, February 8, 2018 on the topic of art and work. The symposium will span historical periods and geographic regions to investigate the history, politics, and aesthetics of artistic labor. Our proposal is grounded by historical and theoretical concerns with the social positions of art making, the artist, and work more generally. How do the social and technical conditions of labor in a given society determine the possibilities of its art, and how do artistic imaginaries of work help shape struggles around these very social conditions? What kinds of knowledge, expertise, skills, or discourses come to distinguish an artist from an artisan, engineer, or maker, or from a teacher, political official, or social worker? How and where do these distinctions emerge or dissolve both visually and historically, and how do they relate to other predominant social markers such as race, gender, and class? We see these questions as resonating across boundaries of period and national tradition, and are excited to see what might be learned from thinking within a wide historical frame wherein both art and work are contested terms.

We welcome papers that consider, among other topics, the aesthetics of work and/or non-work; the social position of the artist; the problem of aesthetic autonomy; or spaces of production and their representations—from the artist’s studio to the collaborative workshop, the laboratory, the home, the factory, and beyond. We are also interested in how representations of artistic production and exercises in (or negations of) artistic technique mediate ongoing processes of social transformation. We invite papers from any time period or geographic region by graduate students in art history as well as related disciplines.

Possible topics might include:

- Depictions of studios, workshops, factories, spaces of production
- Craft labor and handwork
- Treatises and technical manuals
- Artistic readymades or the absence of work
- Histories of deskilling and automation
- Aesthetics and political economy
- Anti-work politics and aesthetics
- Global precarity and flexible labor regimes
- Reproductive labor, domestic work
- Affective and care-based labor
- Post-Marxist approaches to “immaterial labor”
- Community and public art

Symposium speakers who do not reside locally will receive roundtrip economy airfare to Chicago/Evanston, accommodation for two nights in Evanston, and a travel stipend to cover ground transportation to and from the airport. Please email proposals to laurelgarber2015@u.northwestern.edu and brianleahy2020@u.northwestern.edu by October 1, 2017. Include in your proposal a 300-word abstract and a brief C.V. in a single PDF file. Selections will be announced in mid-October.

Keynote lecture by Jasper Bernes

Grants of up to £2000 will be awarded from the Francis Haskell Memorial Fund this year to enable scholars to spend time in libraries or archives carrying out advanced research in the history of western art. Preference may be given to candidates in the early stages of their careers; to subjects related to the commissioning, collecting or interpretation of works of art made before 1914; and to research carried out outside the applicant's country of residence. Scholars from any country may apply. An additional award may be made by the Trustees of The Burlington Magazine Foundation in conjunction with the Francis Haskell Trustees.

Applications, including a two-page proposal, a C.V. and a budget, should be sent by email to caroline.m.elam@gmail.com by 6th October 2017 – please label all attachments with surname of applicant. There is no application form. Applicants should ask two referees to write separately to the same email address by the same deadline in support of their proposals.

Awards will be made by 8 December 2017.

Apply online today! We encourage you to apply as early as possible. The deadline is 11:59 PM on Thursday, November 9, 2017. Applications received after the deadline will not be accepted.

New Prints 2018/Winter will be the 57th presentation of IPCNY's New Prints Program. Established in 2000, the New Prints Program is a twice-annual, juried open call for prints and print-based work created in the preceding twelve months, in keeping with IPCNY's mission of supporting print artists and broadening access to the medium. The jury will be announced in the coming weeks.

CRITERIA

-Editioned prints, unique printed works, printed installations, artist’s books, and ephemeral formats are eligible. Photography or direct reproductions of other artworks, such as drawings or paintings, are not eligible.
-Selections will represent a broad array of processes and formats, as well as broad geographical and generational reach.
-Prints must have been completed within a year prior to the submission deadline.
-Up to 3 images may be submitted.

THERE IS NO ENTRY FEE. Self-published artists, workshops, publishers, and galleries are welcome to submit print projects completed within the past twelve months. Please refer to the image requirements below. Selected artists will be notified by email. If you have not received word by the beginning of December, please check our website or Facebook for a list of artists.

Selected artists or their workshops/publishers will be responsible for the framing and delivery of work to IPCNY by Thursday, December 21, 2017. IPCNY will cover the return cost of delivery within reason (up to $100).

Artists selected for the exhibition will also be invited to apply for IPCNY's recently launched New Prints Artist Development Initiative. The initiative includes three opportunities to receive further training, guidance, and exposure for their printmaking practice: an artist residency program, artist mentorship program, and sponsored coursework. Read more about the initiative here.

IMAGE REQUIREMENTS
Images must be in jpeg format, the largest dimension at 1000 pixels.
Image resolution at 72 dpi or higher.
Name each image as follows: artist's last name_first name_entry number.
(For example: smith_john_01.jpg, smith_john_02.jpg, etc)

For any questions, contact ljmcnerney@ipcny.org.

As a member of the Paper Conservation Department of the Museum’s Conservation Division, the Conservator reports to the Senior Conservator of Works of Art on Paper and shares responsibility for conservation of a major and growing collection of works on paper spanning many cultures and curatorial departments. Candidates must possess outstanding visual and manual aptitudes, strong written and oral communication skills, a sound art-historical and technical knowledge of art on paper, and demonstrated ability to deal with the complexities and dynamic pace of a large cultural institution.


Specifically, you will…
- Examine, perform technical and historical study, document, and treat works of art on paper in the collection
- Assess the condition of works requested for loan or being considered for acquisition, and document the condition of incoming or outgoing loans
- Advise on installations, storage, handling, packing, and transport of works on paper
- Work with conservation scientists in chemical and instrumental analysis and characterization of materials and construction of works of art
- Supervise and instruct conservation junior staff, post-graduate fellows, interns, and technicians
- Promote awareness of the role and work of the museum’s Conservation Division, in part through developing content for public outreach

Your diverse background includes…
- Academic credentials from a recognized conservation training program and five or more years of experience beyond the degree in the study, care, and treatment of works on paper
- Significant museum experience in the typical range of conservation activities involved in optimal preservation and presentation of a large and varied collection
- Involvement in the support of active loan and exhibition programs
- Experience working cooperatively with staff at large to meet departmental and institutional goals

The Fine Arts Department provides the technical, experimental, and conceptual foundations of contemporary artistic expression and discourse, to guide aspiring visual practitioners -students passionate about their work and curious about ideas-to become bold innovators and skilled arts professionals, committed and ready to participate in building a meaningful 21st century creative community.

The Fine Arts Department seeks an artist in printmaking. The ideal candidate will be capable of teaching beginning, intermediate, and advanced undergraduate printmaking courses in intaglio, lithography, relief, screen print and digital technologies. Additional skills and teaching abilities in design, drawing, painting and/or photography are desired. The candidate must also possess the ability to leverage a strong foundation in traditional artistic skill and practice as a platform for more divergent thinking and innovation. We are open to hybrid forms of creative and interdisciplinary inquiry that will connect to other units in the Fine Arts Department and College. The ideal candidate must also have an established exhibition record and teaching experience at the college level.

The successful candidate should be a team-oriented leader who will play an active role with the Fine Arts Department in terms of curriculum development, facility management, and student mentorship, as well as cross-disciplinary collaboration throughout the College.

The mission of The MacDowell Colony is to nurture the arts by offering creative individuals of the highest talent an inspiring environment in which they can produce enduring works of the imagination.

The sole criterion for acceptance is artistic excellence, which The MacDowell Colony defines in a pluralistic and inclusive way. We encourage applications from artists representing the widest possible range of perspectives and demographics, and who are investigating an unlimited array of inquiries and concerns.

We apply the same egalitarian standards for all those who serve MacDowell either in a staff, volunteer, or representative capacity.

MacDowell encourages applications from artists representing the widest possible range of perspectives and demographics. Emerging artists, as well as artists with professional standing in their fields, may apply in the following disciplines: architecture, film/video arts, interdisciplinary arts, literature, music composition, theatre, and visual arts. Unfortunately, students who are enrolled in a degree program at the time of the application deadline are ineligible for a residency and therefore cannot apply.

SPECIFICATIONS: Degree from an accredited conservation program or its equivalent and a minimum of 4 years conservation experience in paper conservation is required. Compensation will be commensurate with experience and will have a starting range in the mid-$40,000 (assistant) to mid-$60,000 (conservator) yearly with comprehensive benefits. Experience in administration and staff supervision is preferred.

JOB PURPOSE: The Saint Louis Art Museum seeks a collegial, collaborative, and energetic paper conservator to join its dynamic conservation team. SLAM’s growing collection of over 14,000 works in the prints, drawings, and photography collection spans the 16th – 21st centuries with notable works by both Eastern and Western masters. An ideal candidate will have a broad and solid foundation in paper conservation treatment techniques and be capable of collaborating with other conservation staff to solve unique preservation challenges. A successful candidate will relish in the opportunity to oversee the conservation of masterworks and will possess the attention to treatment and general preservation details that such works require. The candidate will also have an excellent sense of project management and conscientious observations of deadlines. As the museum’s conservator of paper, the candidate will be expected to plan, supervise, and participate in the conservation and restoration of works on paper in the collections of the Saint Louis Art Museum, as well as, advise the Museum generally on the care of these collections; and to assist in determining conservation policy for the Museum.

DUTIES, WORK PERFORMED:
- Examine and appraise physical condition of the Museum's permanent collections:
- Assess deterioration and damage, and potential complications involved in treatment.
- Design and carry out conservation treatment in consultation with the Curator of Prints, Drawings and Photographs.
- Provide written and photographic documentation to record condition of objects, treatments proposed, and treatments performed.
- Recommend other Conservators outside his or her field of expertise and review their treatment proposals.
- Advise on preventative maintenance in the Museum as a whole in the areas of environment, handling, storage, and installation.
- Examine works on paper prior to acquisition to aid the Curatorial staff in determining their physical and aesthetic condition, as well as their authenticity.
- Examine works requested for loan to determine suitability for travel and to document their condition, and advise the Registrar and others on any special packing and shipping considerations.
- Supervise the technician assigned to the department of prints, drawings and photographs, and in particular, review the design and fabrication of mats and frames for the collection.
- Advise the Registrar and Curators on the installation, storage and maintenance of works on paper in the collection.

Administer the Paper Conservation Lab:
- Assist in preparing, monitoring and controlling the budget.
- Recommend acquisition of new equipment.
- Monitor and order conservation supplies.