The Embassies of Latin American countries, Spain and Portugal, in collaboration with Itaú Unibanco and supported by People’s Palace Projects (Queen Mary University of London), are delighted to launch the 2017 edition of the VIA Arts Prize.

In an unparalleled exchange between the UK and Latin cultures, this dedicated visual arts competition invites all UK-based artists to enter into a creative dialogue with Ibero-American art and artists. Following the pre-selection process conducted by the curatorial committee, up to 30 artworks will then go on display for three weeks at the Embassy of Brazil. A special jury will judge the final selection.

Please find full information at the contest website. Submissions for the competition, which may include paintings, drawings, sculpture, photography and prints, are now invited from artists living and working in the UK. Participants must be aged 16 or over.

We encourage you to participate in this contest and there are several ways in which you can get involved:
- Applying if you have an artistic vein;
- Sharing this opportunity;
- Attending the finalists’ exhibition in November to vote for your favourite.

The prizes are: 1st Prize £5,000 and a solo exhibition at the Embassy of Brazil; 2nd Prize £2,000. The exhibition will be at the Embassy of Brazil in London from the 3rd – 23rd November 2017.

For further information please contact:
Andrzej Stuart-Thompson (English)
Ana Elizabeth González (Spanish)
Marcio Junji Sono (Portuguese)
info@viaartsprize.org
Tel. +44 (0)20 7747 4576
OR +44 (0)20 7747 4567

Living and working in the Schlemmer House in Dessau
Apply now – Applications close on 6 September 2017

In the 1920’s the Masters’ Houses in Dessau became the epitome of an artist community of the twentieth century. This is where Walter Gropius, Oskar Schlemmer, Georg Muche, László Moholy-Nagy, Lyonel Feininger, Wassily Kandinsky and Paul Klee and their families lived next door to each other. Here they were joined by their friends and visitors. Artist collectives, artist couples and artist friendships developed here, with everyone working together in the open structure of the model homes located in a park. However, when the Bauhauslers left in 1933 the area became deserted and the work created as a result of the artistic effort was abandoned.

Since February 2016 the Bauhaus Dessau Foundation is enabling young international artists to once again live and work in the Schlemmer house – even if the restrictions of the perseveration of cultural heritage attached to the status of a UNESCO World Heritage Site are very strict. With the new format the Bauhaus Dessau Foundation would like to promote the current focus of attention on the Bauhaus heritage, revitalise the Masters’ Houses and in this context promote artistic and creative work of international significance which will then at the end of the residency period be displayed in the Gropius House until the Bauhaus anniversary in 2019.

The Getty Foundation is funding a postdoctoral fellowship program that is being administered by the American Council of Learned Societies.

Application deadline: Oct 25, 2017

ACLS invites applications for Getty/ACLS Postdoctoral Fellowships in the History of Art, made possible by the generous support of the Getty Foundation. These fellowships are intended to support an academic year of research and/or writing by early career scholars for a project that will make a substantial and original contribution to the understanding of art and its history. ACLS will award 10 fellowships, each with a stipend of $60,000 plus $5,000 for research and travel during the award period, and a one-week residence at the Getty Center following the fellowship. The ultimate goal of the project should be a major piece of scholarly work by the applicant.

Getty/ACLS Postdoctoral Fellowships in the History of Art are portable and are tenable at the fellow’s home institution, abroad, or at another appropriate site for research. These fellowships may not be held concurrently with other fellowships and grants, but may be combined with sabbatical pay up to an amount equal to the candidate’s current academic year salary.

Fellowship Details

– Amount: $60,000 plus $5,000 for research and travel expenses
– Tenure: the 2018-19 academic year
– Completed applications must be submitted through the ACLS Online Fellowship and Grant Application system (ofa.acls.org) no later than 9 pm Eastern Daylight Time, October 25, 2017.

– Notifications will be sent via email by late March 2018.

Printing and Misprinting: Typographical Mistakes and Publishers’ Corrections (1450–1600)

Lincoln College, Oxford, 20 April 2018
Convenors: Geri Della Rocca de Candal and Paolo Sachet

This one-day symposium – opening with a keynote lecture by Anthony Grafton (Princeton) – aims to explore the notions of typos and manuscript or stop-press emendations in early modern print shops. Building on Grafton’s seminal work, scholars are invited to present new evidence on what we can learn from misprints in relation to publishers’ practices, printing and pre-publication procedures, and editorial strategies between 1450 and 1600. The subjects of investigation may include texts, images or mise en page, of both incunabula and sixteenth-century books issued in and outside Europe, stretching from the output of humanist printers to wide-ranging vernacular publications.

Particularly welcomed are case studies and comparative analysis of:
•manuscripts, proof sheets or printed copies retaining publisher’s preparatory interventions for a new edition
•extant copies of a faulty edition which was corrected by the publisher more or less systematically
•different faulty editions by the same publisher and/or of the same text
•developments of printed errata
•contemporary sources (e.g. paratextual material, scholarly correspondence and treatises) discussing typographical mistakes and publisher’s corrections

This call is open to established and early career scholars as well as PhD candidates. Papers must be delivered in English, not exceeding 20 minutes in length. If you wish to take part in this conference, please send your CV and proposal (max 300 words) to printing.misprinting@gmail.com no later than 16th October 2017.

Yaddo is a retreat for artists located on a 400-acre estate in Saratoga Springs, New York. Its mission is to nurture the creative process by providing an opportunity for artists to work without interruption in a supportive environment.

Yaddo offers residencies to professional creative artists from all nations and backgrounds working in one or more of the following disciplines: choreography, film, literature, musical composition, painting, performance art, photography, printmaking, sculpture, and video. Artists may apply individually or as members of collaborative teams of two or three persons. They are selected by panels of other professional artists without regard to financial means. Residencies last from two weeks to two months and include room, board, and a studio.

Significant women printmakers and publishers have long been relegated to footnotes or secondary status in national biography and academic canons. The organizers of this panel seek to recover the achievements of women in graphic culture. We invite papers on the role of women in the creation, production and circulation of prints in the long eighteenth century. We encourage interdisciplinary and global perspectives. Topics might address professional and amateur status, implications of genre and aesthetics or of technique and medium, and questions of legality, including libel and censorship among others.

49th American Society for Eighteenth-Century Studies (ASECS) Annual Meeting
Orlando, FL
March 22-25, 2018

CONTACT --- Cynthia Roman, Yale University (cynthia.roman@yale.edu) AND Cristina S. Martinez, University of Ottawa (martinezcsm@gmail.com)

Tiger Strikes Asteroid New York (Brooklyn, NY) presents an opportunity for artists to participate in the fifth year of our annual Flat File Program. The 2017-2018 program will run for one full year, from December 2017 through November 2018. The program will kick off with an event in our gallery in December 2017 comprised of works selected from the new season’s flat file.

Individual works from the Flat File Program will be selectively highlighted throughout the year in the gallery, on our website, through social media (Facebook/Instagram) as well as shared as part of our press releases with our mailing list; the Flat File will also be accessible to gallery visitors for browsing. Works included in the Flat File Program will be available for purchase throughout the year on our website. The Flat File will be on view during the heavily trafficked 2018 Bushwick Open Studios weekend, concurrently with our regularly scheduled exhibition.

Submission Details:

Open to professional working artists only. Currently enrolled student are not eligible to apply.
Artists who currently have work in our Flat File are not eligible to apply this year.
All work for consideration must be unframed and unmounted.
Dimensions should be no larger than 16 x 20 inches, with a maximum thickness of ¼ inch or less.
Submission fee is $20, non-refundable and for up to four jpegs.
Maximum retail price of each work submitted should be less than $1,000.
All submissions must be in by 11:59pm EDT on July 31, 2017 for consideration.
Selected Artists will be notified in early Fall of 2017.
Specific works submitted to the open call must be available for the Flat File. If an accepted work is not available for any reason it may not be switched with replacement.
Each image should be no larger than 1000 pixels at the largest dimension.
Files must be numbered and named following this naming convention: LastnameFirstname#.jpg for example ObamaBarack1.jpg.
Check the FAQ section on the website for answers to commonly asked questions.
Double-check your submission against the requirements before submitting. Submissions that do not meet the parameters will be automatically disqualified. If accepted artwork does not meet the parameters when received at TSA NY it will not be included in the flatfiles.

FAQs
Q: Can foreign artists apply?
A: Yes, foreign artists are welcome to apply as long as they can ship their work to New York.

Q: Can I submit multiple images to document one artwork?
A: Yes, but a maximum of four JPGs may be submitted total.

Q: Can I switch out works in the TSA flatfile.
A: No, if included your work is committed to be in the flat file for the duration of the program.

Q: What is the consignment percentage breakdown between TSA NY and the artist?
A: The artist receives 70% of the sale price, TSA receives 30%.

Q: What if I found a buyer for my work while it’s in the Flat File?
A: For the duration of the year your work is in the Flat File TSA and the artist will split sales according to the consignment agreement

Q: Must the work be on paper?
A: No, but it must be no more than ¼“ thick.

Q: What if my artwork is comprised of multiple parts?
A: That is fine as long as the entire work is 16x20” or smaller.

Q: If accepted what should I do to prepare my work for presentation?
A: Nothing, please sent us only the work, do not frame or mount the work.

CFP: CAA 2018 - A Second Talent: Art Historians Making Art

Session Chair: S. Hollis Clayson (shc@northwestern.edu)

The material turn has intensified the call for hands-on studio training for art history students at all levels. It has also increased the pressure on art museums to include highly technologized object analysis in exhibitions. A SECOND TALENT seeks contributions from art-making art historians who will scrutinize the connections between their immersion in a medium (making) and the complex particularities of interpretation (talking and writing). The session seeks papers that will actively query and pinpoint the value for art history of specialized artifact knowledge, focusing specifically upon the benefits of literal engagement in the production of art. Once an art historian (young or old) learns the technical details of an art process and gets her hands dirty by entering the absorptive sphere of art-making, what is the effect on her practice of art history? Does immersion in art process change art historical interpretation? Should it? It is hoped that contributors will question the self-sufficiency of materiality through the lens of their own experiences of the links between matter and meaning. A consideration of making as research would be welcome. Papers are expected to combine a self-aware narrative (“here’s my art”) with an interrogation of the hermeneutic gains or losses caused by the acquisition of a second talent.

Please send an abstract of no more than 250 words and a shortened CV to the session chair by August 14, 2017.

Biennial Venue:
The Lunder Arts Center, at Lesley University College of Arts and Design, Cambridge, MA

Juror
Judith Brodie, Curator of Modern Prints and Drawings at the National Gallery of Art, has organized and collaborated on many exhibitions, including A Century of Drawing: Works on Paper from Degas to LeWitt, Shock of the News, and Yes, No, Maybe: Artists Working at Crown Point Press. Prior to coming to the Gallery, Brodie worked at the National Museum of American Art and the Philadelphia Museum of Art. She was a visiting artist at Birgit Skiöld’s Print Workshop in London, and taught printmaking at the Rhode Island School of Design before becoming a curator.

Calendar 2017
March 1, 2017 Application process opens at CaFE
August 25, 2017 Application process closes
September 28, 2017 Notifications emailed
November 1—20, 2017 Period to receive shipped work (*from outside U.S. by Nov 9)
November 12, 2017 Hand delivered work must be received
January 27, 2018 Opening reception and events
March 4, 2018 Exhibition closes
March 10, 2018 Pick up of hand delivered work 10am-2pm
March 10, 2018 Return of shipped work

2017 North American Print Biennial Prizes

Purchase Prizes:
The Boston Printmakers Prize
Collection: The Boston Public Library
http://www.bpl.org/research/print/index.htm
The Otis Philbrick Memorial Prize
Collection: The Museum of Fine Arts, Boston
http://www.mfa.org/collections/prints-and-drawings
The Ture Bengtz Memorial Prize (to a Boston Printmakers Member)
Collection: The Art Complex Museum, Duxbury, MA
http://www.artcomplex.org/index.html

Material Awards
Awagami Paper Award, Tokushima, Japan
http://awagami.com
Blick Art Materials, Galesburg, IL
http://www.dickblick.com/
Boxcar Press, Syracuse, NY
www.boxcarpress.com
Center For Contemporary Printmaking, Norwalk, CT
http://contemprints.org/
Constellation Studios, Lincoln, NE
http://constellation-studios.net/
Gamblin Artists Colors, Portland, OR
http://www.gamblincolors.com/
Hiromi Paper International, Santa Monica, CA
http://store.hiromipaper.com/
Legion Paper / Moab Paper
www.legionpaper.com
McClain’s Printmaking Supplies, King City, OR
www.imcclains.com
Mixit Print Studio, Somerville, MA
http://www.mixitprint.com/
Muskat Studios, Somerville, MA
http://muskatstudios.com/
Oehme Graphics, Steamboat Springs, CO
www.OehmeGraphics.com
Savoir-Faire, Novato, CA
www.savoirfaire.com
Singer Editions, Boston, MA
www.singereditions.com
Takach Press Corporation, Albuquerque, NM
http://www.takachpress.com
Zea Mays Printmaking, Florence, MA
www.zeamaysprintmaking.com

The Cleveland Museum of Art seeks a highly motivated Assistant or Associate Curator of Prints and Drawings. The Assistant/Associate Curator will work closely with the Curator of Prints and Drawings to oversee the growth, display, and interpretation of the museum’s collection of over 24,000 prints and drawings. Responsibilities include interpretation and presentation of the permanent collection; development and coordination of special exhibitions and programs; research and publication on the collection; proposing and assisting with acquisitions; educational programming; donor relations, and participating in the day-to-day running of the department. With the Curator, the Assistant/Associate Curator will act as curatorial liaison for the Print Club of Cleveland, the oldest print club in the United States associated with a museum. The individual will also supervise undergraduate and graduate interns from the museum’s Joint Program in art history with Case Western Reserve University. This position is part of the Department of Prints, Drawings, and Photographs and reports to the Chair of the Department.

Requirements

Candidates should possess an M.A. in Art History or related field. A Ph.D. is preferred. The Assistant/Associate Curator will work on all aspects of the collection from the Renaissance through the 21st century. Candidates with expertise in Italian prints and drawings of the 15th and 16th centuries, or European and American prints and drawings of the 19th, 20th, and 21st centuries are of particular interest. Candidates must have at least three years of relevant museum experience. A full range of benefits accompanies this position. Candidates outside the United States are welcome to apply.

Application Materials

Applications, including a cover letter that addresses the candidate’s interest in the position and the relevance of their experience to the museum’s collection, a curriculum vita, a writing sample, and the names and contact information for three references, should be submitted by September 1, 2017.