The Trustees of the Boston Athenæum are committed to elevating the profile of the Special Collections for public enjoyment and for research. The organization seeks an accomplished, inspiring leader to head this effort, while also serving as curator of rare books—the core collection of more than 150,000 volumes, primarily American and European, focused in the humanities. The curatorial responsibilities comprise the majority of the role.

The successful candidate will be an intellectually agile curator and effective manager, committed to realizing the full potential of the Athenæum’s extraordinary holdings across a spectrum of rare materials—from rare books, maps, and manuscripts, to prints, drawings, and photographs, to paintings, sculpture, and decorative arts. S/he will work with colleagues from across the organization to integrate access to, research into, and presentation of the Special Collections. S/he will have a record of success in cultivating donors and raising funds for Special Collections projects.

Reporting Structure:
The position will report to, and work closely with, the Athenæum’s Stanford Calderwood Director. As a member of the Director’s Cabinet of division heads (Special Collections, Technical Services, Reader Services, Education, Operations, Finance, and Systems), the Head of Special Collections will play a leadership role in developing and reviewing plans to address strategic opportunities and in realizing the Director’s and Board’s vision for the future of the Athenæum.

The Head will lead an accomplished curatorial team, while serving as an active participant. Three full-time curators—the Susan Morse Hilles Senior Curator of Paintings and Sculpture and Director of Exhibitions, the Curator of Prints and Photographs, and the Assistant Curator of Special Collections—will report to the position. Four other regular participants in Special Collections projects (the Polly Thayer Starr Curatorial Fellow in Paintings & Sculpture, the Caroline D. Bain Archivist, the National Endowment for the Humanities Librarian in Charge of Technical Services, and the William D. Hacker Head of Reader Services) report to others.

The Head of Special Collections will also supervise a part-time grant-funded research assistant and occasional student interns. S/he will work routinely and constructively with colleagues from all areas of the organization, including Technical Services, Education, Reader Services, Conservation, Digital Programs, Systems, Facilities, Security, and Finance.

QUALIFICATIONS:
While the Athenæum will consider applicants with other credentials, the MLIS from an ALA-accredited academic institution (or its international equivalent) and an advanced degree in a humanities discipline relevant to the Athenaeum’s collections, or a Ph.D. in a directly relevant discipline and training in bibliography and book history are strongly preferred. A minimum of six years’ progressively responsible directly relevant rare books’ curatorial experience in a research library, museum, or comparable cultural institution.

TO APPLY: Please submit a cover letter to hr@bostonathenaeum.org, expressing interest and outlining relevant experience; curriculum vitae; sample publication, preferably of no more than 20 pages in length; and the names and contact information of two professional references. Review of materials will begin on August 30, 2017, and continue until the position is filled.

100 West grants artists and writers residencies to create work in this historic building repurposed for studio space. Large scale, light filled rooms are provided alongside complete living accommodations and wood shop access to produce work in two or three dimension, installation, or writing. This residency experience is enriched by artist-made furniture and antiques in a building virtually unaltered since the 1890s. Original mill work, light fixtures, painted doors and walls now cracked and worn remain amid three years of preservation work, and effectively contrast contemporary modes of art making. 100W maintains a close connection with Dallas art culture less than an hour away from downtown Corsicana, where faded vestiges of the nineteenth century oil boom make it quintessentially Texas.

100W offers the applications linked above for artists and writers seeking both funded and non-funded studio residencies. Two fully funded, 1 month residencies are available for one artist and one writer between January - May, and October - December 2018.

Applicants may also receive partial 100W funding, local grants noted on the application form, or the opportunity to exchange an artwork to compensate residency rates. 100W takes a Summer hiatus June - September (see below for details). This application will be reviewed for multiple upcoming opportunities, including group exhibitions, and 100W Catalogue contributors.

Residency durations are customizable from 2 weeks to 2 months. However, 100W encourages applicants to consider a minimum of 1 month to reach studio rhythm and produce in-depth work.

100W welcomes collaborative applicants, with a maximum of 2 residents sharing a studio.

100W hosts 3 - 4 Artists and Writers in one building simultaneously. Residency building comprised of personal work space and shared common space.

Artist Applicants submit 5 examples of work.

Writer Applicants submit 2 examples of work, max 2000 words.

Application Fee $30

Selected Applicants announced the first week in October, 2017.

The Journal of the California Society of Printmakers is presently soliciting proposals for the 2018 issue, entitled “The New Print: Marriage of Technology and Tradition.” We are interested in why printmakers in any field choose this combination and how new technology stimulates ideas. What is the new technology? What is traditional? We also want to focus on process, including methods and materials.

We would like proposals by print artists such as yourselves and are also seeking recommendations of artists (including their website) who could contribute to this topic. Artists are invited to write their own articles, or we will provide an editor to facilitate. We are also interested in any writer who wishes to partner with an artist in writing an article. Articles should be 800-1700 words, with accompanying pictures.

Deadline for proposals: August 28, 2017
- How your article will address the theme outline or short narrative
- Website showing work or 5 jpegs
- Artist bio with contact information
- Be sure you provide a 3-4 line summary and pictures relating to the focus of the article so we can judge everyone fairly.

Deadline for finished articles: November 1, 2017

You can send the proposal to avpike@cruzio.com

Manhattan Graphics Center’s PR/Administrative Internship Program offers opportunities to take classes, meet printmakers and instructors, and get involved in the New York art community. This internship program is designed to be an educational experience in public relations and the daily operations of a non-profit fine art studio.


Fall Term: September 5 - December 22

- All Internships are for 1 term and can last 8 - 13 weeks.
- Interns must be available 2 days per week during the hours of 10am – 6pm.
- Saturday availability is highly recommended as a lot of artist talks, workshops, and art openings take place that day.
- Internships require a minimum of 10 hours per week.
- All internships are unpaid.
- All interns receive a one-year free membership and open workshop hours to use the studio (based on amount of hours worked).

Skills Needed

MGC is looking for someone with an outgoing personality who can help grow awareness and excitement for the programs we offer. Experience in printmaking is preferred. Interns will need to have a working knowledge of Photoshop, google drive, social media (Instagram/twitter), video editing (basic), and basic camera skills. A good sense of direction and knowledge of the New York City subway system is a plus.

Interns will work directly with the program manager on several projects throughout the term. The program manager will work one-on-one with interns to help them hone their skills, as mentioned above, and mentor them throughout the program.

About the Program Manager ---
Erica Criss received her MFA from Kent State University where she studied fine art printmaking. Erica has worked in Intaglio, Screenprinting, Lithography, Woodcut, Relief, Monotype, and other experimental processes. She has worked at MGC since 2015 as the Program Manager where she handles the MGC schedule including; classes, grant programs, artist talks, and other on-site activities. She also promotes the center, manages fundraisers and international exhibitions, as well as the daily operations.

To Apply fill out the Internship Application using the link below. Upload your resume and a cover letter detailing why you want to intern at MGC. Candidates will be contacted for an interview.

“Now you see it, now you don’t: Materialism and Ephemeral Prints”
Chair: Yasmin Amaratunga Railton, PhD

Ed Ruscha’s 1969 print portfolio Stains signifies a paradigm shift in the artist’s practice, marking a departure from painting in favour of experimental printmaking using ephemeral materials. An experiment in West Coast Conceptualism, each of the portfolio’s seventy-five pages of cotton paper was permeated with an unusual pigment, which included Los Angeles tap water, Coca-Cola, sulphuric acid, and human blood.

This session will explore the material culture of ephemeral prints. Research into the production, function, and reception of ephemeral materials in printmaking has recently become a fertile line of enquiry. From the early modern period, such as the use of blood in early color printing, to artistic interest in materiality in 21st century practices, recent theoretical approaches to matter offer new insight into the production and consumption of prints historically.

Contributing papers may range from all chronological and geographic areas related to print history. For this proposed session, contributors may put forward papers that investigate the relationship between artists’ choices of ephemeral materials and the theoretical rhetoric that dominated their practices. Papers that consider New Materialisms, object orientated ontology, or thing theory may offer new ideas of ephemeral matter. From a museology perspective, various models of institutional support that encompass archival repositories, preservation and conservation could be addressed. Focusing on the physical history of ephemeral prints, papers may investigate the conception, acquisition, condition issues and conservation. Technical conservation examinations of prints may illustrate the challenges presented by ephemeral pigments.

At the intersection of art history, museology, conservation, and archival theory, this session seeks to contribute new knowledge on materialism by situating ephemeral materials and printmaking practices within current art historical research and criticism.

Please submit your abstracts including a brief C.V. (two pages max.), and full contact information by August 21st 2017 to Panel Chair Yasmin Railton at y.railton@sia.edu

CAA Guidelines
- All sessions will be 90 minutes in length at CAA 2018. Please plan accordingly.
- All session participants must be current individual CAA members to participate in the Annual Conference. -
Please send us your CAA Member ID as this is a required field on the submission form. If you are not a current individual member, please renew your membership or join CAA.
- All session participants must also register for the conference.
- CVs are required for panel proposals.
- Session and paper/project abstracts should be no more than 250 words in length.

Call for applications: Richard Diebenkorn Teaching Fellowship
August 27–December 7, 2018

Application deadline: September 29

San Francisco Art Institute
800 Chestnut Street
San Francisco, California
United States

T +1 415 749 4534
academicaffairs@sfai.edu

sfai.edu
headlands.org
Electronic submissions only: sfaicalls.slideroom.com

SFAI and Headlands Center for the Arts are currently seeking applications for the Fall 2018 Richard Diebenkorn Teaching Fellowship. Established in 1998 by the generosity of the family of painter Richard Diebenkorn—both an alumnus and longtime faculty member of SFAI—the Fellowship provides an opportunity for artists to teach at SFAI and have sufficient time and financial support to sustain their practice while doing so in the renowned studio environment of Headlands Center for the Arts. Through its semester-long structure that includes a residency with studio space at Headlands, the Fellowship not only offers each participating artist an invaluable opportunity to further their own practice, it also leaves a deep, lasting impression on SFAI’s students. This year’s Fellowship is open only to artists who reside in the United States and outside of the Bay Area. Artists must apply by the deadline of Friday, September 29, 2017. Please see details below about important dates, application fees, eligibility, and process.

Eligibility
Applications are sought from early to mid-career artists who have an established body of work and exemplary exhibition record in the media of painting and drawing. Applicants must reside within the United States and outside of the Bay Area. (In alternate years, the Richard Diebenkorn Teaching Fellowship is awarded to Bay Area residents.) The review committee will consider the applicant’s experience, their appropriateness to the SFAI and Headlands communities, and the quality of work and written statements.

Fellowship award
The Richard Diebenkorn Teaching Fellow will receive 25,000 USD in compensation to teach two courses in the fall 2018 semester, give a public lecture in the Visiting Artists and Scholars Lecture Series, and engage with the SFAI community through individual student critiques, academic programs, and activities. Fellows are expected to be in residence full-time at Headlands during the fellowship, August 27 to December 7, 2018.

This prestigious award has been given to 17 artists since 1998, including Brad Brown, Shaun O’Dell, Iona Rozeal Brown, Josephine Taylor, Monica Majoli, Polly Apfelbaum, and Liam Everett. See a complete list of recipients here.

Integral to the Fellowship is a residency at Headlands Center for the Arts. The residency includes housing, an 800-square-foot studio, five chef-prepared meals each week, and access to shared vehicles. Artists in Residence are encouraged to engage with other residents and participate in the dynamic creative community of the Center, and are asked to participate in the seasonal Open House where resident artists share their work with the visiting public.

About Headlands Center for the Arts
Headlands Center for the Arts is situated in a rehabilitated military fort in the Golden Gate National Park, 15 minutes outside of San Francisco. Founded in 1982, Headlands Center for the Arts operates a multi-disciplinary, international art center best known for its dynamic public programs and highly lauded artist residency. Located in the coastal wilderness of the Marin Headlands, within the Golden Gate National Recreation Area 15 minutes outside of San Francisco, Headlands’ historic nine-building campus is dedicated to process-driven exploration and risk-taking contemporary art in all disciplines. Its year-round programs provide visual artists, performers, musicians, and writers with opportunities for research, professional development, and peer-to-peer exchange at critical times in their careers.

The Rothman Family Associate Curator envisions new strategy for the exhibition, interpretation, and development of prints and drawings collection, including, but not limited to late 18th-, 19th-, and early 20th-century French, Belgian, Dutch, German, and Scandinavian works on paper. Realizes this strategy through exhibitions and publications; documented research of collections; engagement with local and international scholarly communities; and proposals for acquisitions by purchase and gift. Serves as primary specialist for internationally recognized collection of 19th- century works on paper. In this capacity, performs ambassadorial function for the Department of Prints and Drawings and for the Art Institute in representing the institution locally, domestically, and internationally— communicating in oral and written form with scholars, curators, dealers, collectors, and members of general public.

PRIMARY DUTIES AND RESPONSIBILITIES:

- In conjunction with senior curators, takes primary responsibility for certain national schools and periods represented in the permanent collection, including nineteenth- and early twentieth-century European prints and drawings, especially French, German, Belgian, Dutch, and Scandinavian schools. Documents these collections, assesses their strengths and weaknesses, keeps abreast of the market and current scholarship, works with dealers, recommends and researches new acquisitions.

- Proposes, organizes, and implements permanent-collection based exhibitions in the Goldman Galleries for Prints and Drawings as well as Allerton Galleries. Selects artwork, writes labels and didactic materials, and oversees installation. Also expected to organize major loan exhibitions.

- Researches and writes justifications on new acquisitions and gifts for the Advisory Committee. Makes presentations at Committee Meetings.

- Contributes to general supervision of interns, volunteers, and special projects research assistants (when applicable) in areas of specialization.

- Contributes to general operation of Print and Drawing Club, offering special programs for Club membership in area of expertise.

- Researches and writes on the permanent collection in area of specialty for museum and scholarly publications.

- Lectures to classes and museum groups and otherwise participates in relevant conferences and symposia, maintaining up-to-date knowledge within area of specialization and more generally related to works on paper, printmaking techniques, and relevant conservation standards.

- In conjunction with senior curators, works closely with donors on research and documentation of their collections and advises on acquisitions, as appropriate.

- Answers research correspondence and telephone inquiries from scholars, curators, dealers, collectors, museum members, the general public, and other museum departments.

- Takes primary responsibility for accurate and up-to-date cataloguing of new acquisitions and permanent collection in areas of specialty.

- Takes primary responsibility for certain individual collections within the permanent collection.

- Travels in the U.S. and abroad to perform art historical research, visit dealers, and to act as courier for works from the permanent collection.

QUALIFICATIONS:
- Ph.D. in Art History preferred. A record of scholarly publications in the field of 19th-Century European works on paper

- Minimum of 4 years of museum (or related) experience.

- Experience handling prints and drawings. In-depth knowledge of printmaking and drawing techniques. Proficiency in French and at least one other European language.

- Excellent verbal and written communication skills. Up-to-date knowledge and active participation in academic discourse in area of specialty.

When applying, please submit letter of interest, writing sample, curriculum vitae and 3 references in one PDF. To apply please click on the External Link below.

Conference: Art and Work
Department of Art History, Northwestern University, Evanston, IL
Date: February 8, 2018

Keynote lecture by Jasper Bernes

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 studio, 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.

Reporting to the Chief Curator of Art Collections, the Curator of Prints, Drawings and Photographs will be a key member of the Center’s curatorial team and will participate actively in a wide range of curatorial activities in the Department, at the Center, and in collaboration with other institutions across the University, as well as in the wider world of art historical scholarship. Under the supervision of the Chief Curator, the Curator of Prints, Drawings and Photographs will oversee, steward, and develop the Yale Center for British Art’s collection of over 22,000 drawings, 40,000 prints and a growing collection of nearly 1,000 photographs, the most important collection British works on paper outside the United Kingdom. She/he is responsible for the administration and organization of the Center’s Study Room and management of the department’s curatorial assistants who support that space. S/he is responsible for the interpretation, documentation and growth of the Center’s collection of Prints, Drawings and Photographs; will propose and execute temporary exhibitions as well as serve as in-house curator for traveling exhibitions from other institutions; will participate actively in the scholarly life of the Center by undertaking research and publication within the field of British art and may teach in the department of Art History; initiating research on acquisitions, loans, and on the permanent collection; fielding public inquiries; representing the department on Gallery and University committees. In keeping with the Center’s profile as a museum and research center, the successful candidate will have a proven record of scholarly research and publication in the history of British art and a thorough knowledge of the history of British art, especially of the long eighteenth century. S/he works with the senior leadership at the Center to cultivate prospective donors, foundations, corporate sponsors and related entities to support all activities of her/his departments, as well as the growth of collections.

For more information and immediate consideration, please apply online using the external link below.

PLEASE NOTE: This position is in a department currently undergoing negotiations over its reorganization.

Position Overview
Is responsible for providing specialized and complex reference services, performing complex and original cataloging and classifying of rare books and manuscripts, and promoting the use, care, and servicing of the Rare Books and Manuscripts’ collections.

Reports to Keeper of Special Collections in consultation with the Chief of Technical and Digital Services for matters pertaining to cataloging and database quality control.

Supervises
Professional and support staff as assigned.

Responsibilities:
1. Provides reference service which often includes difficult and complex queries; takes responsibility for developing and maintaining quality reference service within the Department.
2. In coordination with the Chief of Technical and Digital Services and according the cataloging policies of the Library, performs original and complex descriptive and subject cataloging, classification, and authority work for rare books, manuscripts This work will require special language, subject, and technical knowledge.
3. Establishes new personal and corporate names and uniform titles, with appropriate cross-references, for inclusion in the name authority file. Where appropriate, revises existing authority records
4. Assists in retrospective conversion projects, including digitization projects, by facilitating an accurate conversion of data into appropriate machine readable forms, including MARC21, XML, or other formats as required.
5. Remains current with existing and emerging cataloging policies, practices, standards, schema and procedures including, but not limited to, MARC 21, DCRM(B), FRBR, AACR2r, LC Rule Interpretations, OCLC bibliographic standards, Dublin Core, MODS, EAD, TEI, CDWA, GILS, and CORC.
6. Works collaboratively with Technical Services staff in order to resolve problems relating to item and bibliographic records.
7. Assumes responsibility for implementing the policies of the Library as they pertain to the Rare Books and Manuscripts Department.
8. Keep abreast of current trends in scholarship in order to match research needs with collection holdings.
9. Alternates with other staff members in supervising the reading room in such a way as to maintain an atmosphere conducive to research at the same time as preserving and protecting materials.
10. Contributes to cultivation and stewardship of prospective donors and identification of potential collections for acquisition.
11. Increases visibility of the collections through presentations, web-based projects, exhibitions, and public programs.
12. Suggests items or collections in need of conservation, makes recommendations for reformatting of materials, and instructs patrons and other staff in the proper handling of rare books and manuscripts.
13. Prepares statistical and other reports and analyses, as assigned.
14. Performs other related and comparable duties as assigned.

Competencies
Proven familiarity with standard rare book and manuscript reference sources and databases.
Knowledge of current conservation principles and practices.
Demonstrated experience and superior knowledge of DCRM(B), FRBR, AACR2, LCSH, LC classification, and MARC 21 coding (all formats).
Demonstrated working knowledge and recent hands-on experience cataloging on OCLC.
Working knowledge of current and emerging library catalogs, online and print cataloging resources and bibliographic tools.
Ability to carry out detailed procedures with accuracy.
Ability to work with minimal supervision.
Ability to plan and prioritize job responsibilities and tasks.
Demonstrates initiative and appropriate independent decision making skills.
Excellent oral and written communication skills. Communicates effectively and presents ideas clearly.
Ability to execute library policy.

See External Link for more information on qualifications.