Teaching fabric block printing art to the master printers of yore. Collaborative novel writing.

Description of residency program
Saint Namdev (1270 AD) made devotional compositions on Lord Vishnu. His creations are also included in the Guru Granth Sahib, the bible for the Sikh. Saint Namdev has a big following in Maharshtra state of which Mumbai is the capital.

Hundreds of members of the community of traditional weavers and block-printers from all over India arrive in Haridwar during the 1st week of November, the occasion of the birth day of Saint Namdev. The traditional block-printing, as a profession, has got extinguished about a decade ago. Now it is considered largely a work of art. Associated art forms of cloth making by handlooms and stitching are also available in Haridwar.

The relaxed month of November presents an additional good opportunity to creative – writers. A fresh cool nip in the air mixes well with the gentle river sound for sun-bathing and writing creatively.

IMPORTANT DATES
01 Nov Saint Namdev Birthday
04 Nov Guru Nanak Birthday
14 Nov Children’s Day
16 Nov World Philosophy Day, International Day for Tolerance
21 Nov World Television Day
Nov Novel Writing Month

“Half-risen then she sent her gaze around,
As if to recover old sweet trivial threads,
Old happy thoughts, small treasured memories,
And weave them into one immortal day.”

Duration of residency
28 days or 7 days. An artist may arrive and depart before or after the specified dates so that she is able to participate for the 28 or 7 days.

Stay of a lesser or more duration is also possible.

Disciplines, work equipment and assistance
365 Haridwar presents a specific cultural context and enables unlocking of associated opportunities. Every selected artist receives a customised treatment, assistance, and access to equipments and resources based on the specific individual needs and prior discussions.

Artists involved with the following disciplines are invited to apply.

* Visual Art
* Educational Programmes
* New Media
* Animation
* Printmaking
* Curatorial
* Administrative
* Film Making
* Architecture
* Sculpture
* Dance
* Textile Art
* Music
* Literature

Accommodation
An artist stays in one of the 3 private en-suite rooms on a single occupancy basis.

Studio/ workspace
Artists use, on a shared basis, studio spaces of one 500 sq. ft. and roof-top (2nd floor) within the premises of 365 Haridwar. The third room has its own private studio space within the room.

Within walking distance of 500 metres inside the cluster (of which 365 Haridwar is a part), there are many more options for studio space.

Fees and support
The fee details are given below.

28 days USD 1450
07 days USD 500
An artist participating for other durations pays in the relevant multiples of the amounts mentioned above.

365 Haridwar offers a grant of only USD 500 to each selected artist for a residency of 28 days. The balance amount is to be arranged by the artist concerned.

365 Haridwar works to create additional and newer sources of funding for an artist who wishes to stay for more than 28 days.
Further, newer value-adds can be looked at. 365 Haridwar provides an in kind support, based on specific situations, as if the artist is a friend and family.

One person (qualified below) per selected artist is invited to stay with the artist on a twin-sharing basis accompanying the artist. 365 Haridwar offers a 50% discount to the following kinds of accompanying persons. * child of age between 6 and 12 * senior citizen * person with managed infirmity * person with disability 365 Haridwar doesn’t have a prior experience of receiving a person with disability. The premises have not be reviewed with a disability angle. Still, the largest room at the ground floor can be made available to an accompanied person with disability. Though nestled amidst forests, river, and mountains, Haridwar town is semi-rural. The terrain in the cluster is largely plain, except for the areas proximal to Ganges.

Apply for the Arte Laguna Prize with 2 works, you are eligible for an art residency in Venice, Italy

Description of residency program
From the creation of the laboratory, Fiorenzo Fallani’s direction for artistic production was rediscovered through the use of screen printing.

With the subsequent experience of Gruppofallani, the prospectives were amplified and confirmed through a multi-purpose usage in the area of museum installations and display exposition.

Today FallaniVenezia intends to follow on the work started by Fiorenzo Fallani, continuing to seek out collaborations with artists that are approaching the screen print medium and opening up the laboratory through training courses and hands-on experience with printing.

The context is the same that hosted the artists that have animated the laboratory through the years, thus creating a continuity of the past into the present and into the future, with the intention of building important relationships and collaborations with those whose life is the creation, diffusion and commercialization of art.

Duration of residency
10 days

Disciplines, work equipment and assistance
Open to artists from the following disciplines: painting, sculpture and installation, photography, video art and performance, land art, virtual art and digital graphics, urban art.
Basic materials for the works and assistance are provided.

Accommodation
During the residency, the selected artist will be accommodated at lodgings made available by Fallani.

Studio/ workspace
Artist will have access to the equipments of the printmaking studio Fallani in Venice.

Fees and support
Application fee: 100 euro (the fee includes participation in the Arte Laguna Prize with 2 works, and will give access also to other opportunities, including 10 other residencies, collaborations with companies, gallery exhibitions, prize money)
Reduced fee for Under 25 artists: 90 euro

The residency includes: accommodation, assistance, basic materials, realization of a silk screen-printing work in 50 copies (25 for the artist, 25 for the Partner).

Expectations towards the artist
The residency will end with a final open day. The silk screen-printing work will be made in 50 copies (25 for the artist, 25 for the Partner).

Application information
To participate you have to enter the Arte Laguna Prize with at least two works in the same section and you will receive an email with the instructions to submit your application for the Artistic Serigraphy Fallani.

Baylor University is a private Christian university and a nationally ranked research institution, consistently listed with highest honors among The Chronicle of Higher Education’s “Great Colleges to Work For.” The university is recruiting new faculty with a deep commitment to excellence in teaching, research and scholarship. Baylor seeks faculty who share in our aspiration to become a tier one research institution while strengthening our distinctive Christian mission as described in our strategic vision, Pro Futuris (www.baylor.edu/profuturis/). As the world’s largest Baptist University, Baylor offers over 40 doctoral programs and has almost 17,000 students from all 50 states and more than 80 countries.

Candidates must possess an M.F.A in the appropriate field of study. Include letter of application, CV, 3 letters of recommendation, transcript showing highest degree conferred, statement of teaching philosophy (printmaking and drawing or design), sample syllabus for printmaking and the second area, 20 digital images of personal work & proof sheet, and 20 digital images of student work & proof sheet w/ detailed information about student projects, reflecting applicant’s ability to teach printmaking processes and a one or more foundation drawing or design areas. Submit application digitally as zipped files via e-mail (JPEG files (no smaller than 1024 ppi. / 72 res. on long side) for each image file. Label images i.e. Jane_Doe_1.jpg, etc.). No personal URLs or websites in place of portfolio requirements. Include names, addresses, and phone numbers of three individuals from whom you have requested letters of recommendation.

The Department of Art in the College of Liberal Arts invites applications for a full-time, tenure- track assistant professor (Internal Number: 319290) faculty position to begin fall semester 2018 (08/27/2018). Appointment at the rank of tenure-track assistant professor, depending on qualifications and experience consistent with collegiate and University policy, will be a 100% appointment distributed over the nine-month academic year (late-August to late-May).

The Department of Art at the University of Minnesota seeks an artist with expertise in drawing and printmaking practice that emphasizes digital processes. With this position, we seek to strengthen the Department of Art’s newly formed area of Drawing, Painting, and Printmaking with a colleague who brings a broad perspective informed by active research on contemporary image making with competency that includes traditional and digital image making technologies. The ideal candidate will have a strong technical and theoretical foundation, as well as an expansive approach that embraces the changing role of mark-making and multiples in a digital context and considers our relationship to graphic images in a global society. We seek an energetic colleague with a strong professional record and the ability to teach across the curriculum, working with non-majors, BA, BFA, and MFA students.

Required:
• MFA in Art or equivalency**
• Evidence of an on-going and active professional record at a national and international level
• Minimum of one year full-time teaching at the university or college level (beyond graduate school teaching appointment or assistantship)
• Ability to teach Beginning Printmaking, which includes screen-printing, relief and digital techniques
• Demonstrable experience with contemporary practices in digital and manual integration in the field of drawing and printmaking
• Knowledge of the history, theory, and contemporary field of drawing and printmaking
• Ability to teach and provide leadership in digital drawing

Preferred:
• More than one year full-time teaching experience from the introductory through graduate level
• Experience teaching at an R1 research institution
• Ability to teach drawing at all levels
• Skills in etching, lithography, book arts, or letterpress techniques
• Demonstrated interest in incorporating emerging technologies into traditional media

**Department of Art Policy Statement

In lieu of an MFA, the following could be considered in determining professional recognition and experience:

Advanced studies at a foreign school that does not award MFA degrees
Extended advanced study with recognized artists in the field
Professional achievement that would provide a depth of knowledge of the field comparable to an MFA
Evaluation by leaders in the field attesting that because of exhibition record and other professional achievement, that person was the equal of an MFA
In evaluating these equivalencies, it should be kept in mind that depth of participation in the field, not simply time in residence, is being considered. Candidates will be evaluated according to a) overall quality of their creative work and recognition in their field, b) relevance of their creative practice to the department's academic priorities and fields of inquiry, c) evidence of commitment to teaching and skills as a teacher, and d) strength of recommendations.

Application to this posting is a two-step process. Both steps must be fully completed for application to be reviewed.

Step 1: your application through the U of MN employment site
Step 2: your SlideRoom application

Both processes must be completed on-line. Mail or email submissions will not be accepted. SlideRoom will be open through December 01, 2017, 11:59 PM.

The University of Iowa School of Art & Art History invites applications for a full-time, tenure-track assistant professor faculty position, beginning August 2018.

The School of Art and Art History seeks a faculty member for Printmaking Area. Responsibilities include teaching and mentoring undergraduate and graduate students in printmaking; collaborating with Printmaking Area faculty in the oversight of studios, development of curriculum, and service that contributes to the overall mission of the School of Art & Art History. Course load is 2/2 and includes introductory, upper level, and graduate courses.

The ideal candidate will have a strong conceptual and technical background in printmaking. They will be capable of teaching and developing the current undergraduate and graduate curricula and be well versed in a range of innovative and analogue printmaking processes. The candidate’s record will show evidence of a promising program of creative development.

Submission:

Candidates should submit applications online at http://jobs.uiowa.edu/. Search requisition number is 71663. Screening of applications will begin on November 17, 2017, and will continue until the position is filled. Candidates should include a cover letter (with a url for the portfolio) and a current curriculum vitae. 3 letters of recommendation are required as part of the application. Recommenders should submit letters of reference directly to the online application site.

Questions should be directed to s-mcguire@uiowa.edu

The School of Art & Art History and the College of Liberal Arts & Sciences are strongly committed to diversity; the strategic plans of the University and College reflect this commitment. All qualified applicants are encouraged to apply and will receive consideration for employment free from discrimination on the basis of race, creed, color, national origin, age, sex, pregnancy, sexual orientation, gender identity, genetic information, religion, associational preference, status as a qualified individual with a disability, or status as a protected veteran. The University of Iowa is an equal opportunity/affirmative action employer.

Required Qualifications: M.F.A. or equivalent combination of education and experience; university level teaching experience; strong conceptual and technical background in printmaking; demonstrated ability to teach a range of innovative and analogue printmaking processes; and evidence of a promising program of creative development.

Desirable Qualifications: Being well versed in the role of printmaking in contemporary art; familiarity with new models of printmaking practice; competency in digital processes.

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.

Successful candidates will excel in the following areas:

Globalism
Possess an understanding of how to guide students with varied beliefs, backgrounds, and values within a multicultural global society.
Demonstrate ability to share extensive knowledge of art history in both Western and non-Western contexts, as well as current practices, approaches, and movements in the contemporary art world.
Instructional Design

Demonstrate ability to implement the newly redesigned printmaking and drawing curriculum, educating students in both figurative and non-objective modalities within an integrated Fine Arts program.
Serve as a strong contributor to curricular assessment and development.
Demonstrate commitment to student centeredness with active participation in student work reviews, and the ability to offer productive verbal feedback, assessment, and counseling.

Learning Enrichment

Demonstrate a passion for teaching, and the ability to inspire interest, curiosity, and creativity in students.
Demonstrate ability to utilize a variety of instructional delivery systems, including various mediated sources that foster critical thinking and problem solving in students.
Enrich the learning experience by creating opportunities for students to engage with professional artist, New York's museums and galleries, and the broader art world.
Incorporate interdisciplinary approaches to teaching into the Fine Arts learning environment.
Contribute to the ongoing success of students by offering mentorship advisement for clubs and activities, and counseling for students regarding their future careers.

Professionalism

Demonstrate as a committed artist, pursuit of creative work with an active studio practice and exhibition record.
Demonstrate a superior level of knowledge with regard to printmaking and drawing skills, materials, and techniques.
Demonstrate ability to teach all levels of printmaking and drawing to undergraduate students.
Demonstrate collaboration and team player qualities, with the ability to perform administrative and committee service with the Fine Arts Department, the School of Art and Design and the College.

Technology

Demonstrate familiarity with specific technology and software relevant to Fine Arts.
Demonstrate ability to work with FIT's safety officer as well as the department chair in areas of health and safety, encouraging safe and sustainable practices related to printmaking.

“This country is new and flourishing. The mechanical arts are at their highest pitch, but the fine arts are of another complexion. They are the last polish of a refined nation… From an insignificant conceit of merit we have generally no knowledge of or feeling for, our imitations of nature, however beautiful, are mechanical altogether. But [these limitations] may be considered as the first lesson necessary for the fine arts... I do not profess myself a member of the fine arts; I am a copyist only, but from my knowledge of them [I] have been allowed judgment and taste, which is competent to give me a relish for them …” --William Birch

In celebration of the tenth anniversary of the establishment of the Visual Culture Program at the Library Company of Philadelphia (VCP), a one-day symposium on Friday, October 5, 2018 will explore the visual, cultural, and social themes elicited from the work of Philadelphia artist William Russell Birch (1755-1834). Inspired by the Library Company’s 2018 exhibition about Birch and his art, the symposium aims to promote discussions that reflect broadly on the continual resonance in American visual culture of the work of this premier enamel miniaturist, aspiring gentleman, and artist of the first American viewbooks.

While British-born Birch’s Views of Philadelphia (1798-1800) was enormously successful, his second, smaller plate book, The Country Seats of the United States (1808), in essence failed. Yet both, promoted through subscription, remain cornerstones of Philadelphia iconography and American visual culture and its complexities. Birch’s body of work includes some of the earliest American visual records of the new nation’s preeminent city as well as expressions of picturesque landscape crucial to 19th-century American makers of art. At the same time, his work evinces political and cultural propaganda, aesthetics of the ordinary and the everyday, and innovation in design.

We invite proposals that will foster broad and interdisciplinary discussions about the aesthetic, political, social, cultural, economic, material, and technological themes in Birch’s art, in his own time and in the two centuries that followed. We will ask: What can be learned from works conceived and executed by a non-native artist parallel to constantly (and infinitely) evolving fields and definitions of art, and means of art production, distribution, and appreciation? Submissions from a wide range of scholars, practitioners, and specialists are encouraged. We seek proposals from art historians, historians, artists,* curators, conservators, emerging scholars, and other voices within the humanities, arts, and cultural communities.

Possible topics might include:
· The “novel” in graphic art, in material and literary constructs
· Collaboration in graphic arts production
· Interpretations and re-envisionings of the theory of liveliness in Philadelphia prints (Martin Snyder, Philadelphia Printmaking, 1976)
· Urban aesthetics in popular art
· Political optics
· Art of the fail, failed artists and projects, and failures that became successes and vice versa
· Myths about William Birch and Philadelphia
· Miniature and moving art in the literal and figurative sense

Submissions Guidelines:
Proposals should include a 300-word abstract and two-page CV or resume.

*Artists are also welcome to submit abstracts or artist’s statements about their own original works of art to complement or in place of traditional works of scholarship and research.

Please email your proposals with the subject line “Birch 2018” as word or pdf documents to birch2018@librarycompany.org. Submissions should be received by Monday, January 15. Selected participants will be notified via email by early March 2018.

Any questions may be directed to Erika Piola epiola@librarycompany.org or Rachel D’Agostino rdagostino@librarycompany.org.

The Hoehn Curatorial Fellow for Prints will be a key contributor to the University Galleries’ team. Responsible for coordinating and curating exhibitions in the Hoehn Family Galleries, managing and caring for the University Print Collection, advising on areas of collection growth, and supervising student interns. The Fellow will work 4 days a week on site, and will be offered one research day to conduct their own scholarship or teach in their independent time. A goal of the Fellow’s time at USD will be the production of a major exhibition and publication that will advance the scholarly and museological reputation of the program. The Fellow will also assist the Gallery Director with other projects as assigned by the Director of University Galleries. Maintains professional level consistent with the values and mission of the University. Requires flexibility and collegiality with a small team in fast paced office environment and responds to challenging situations with high level of diplomacy. This position works under general supervision of Director of University Galleries and exercises supervision over occasional contract labor (e.g. security and installation crews), and work study students as assigned by supervisor.

Examples of Work:
-Collection Management
-Exhibition Development
-Collection Development
-Education and Publications
-Campus and Community Relations
-Collegial Responsibilities

Qualifications:
-Minimum Master’s degree, preferred ABD or Ph.D. in Art History with emphasis on the graphic arts and print culture. Experience in working with prints and/or works on paper; Minimum two-years experience in professional art gallery or museum setting, particularly in curatorial work and/or collection management; Experience in exhibit planning a plus.
-Valid driver’s license.

Performance Expectations: Knowledge, Skills & Abilities:
-Be able and willing to represent the university in the most positive manner.
-Thorough knowledge of fine art prints and works on paper, including proper handling, display and storage procedures.
-Familiarity with responsibilities associated with the operation of a campus-based art gallery.
-Familiarity with providing a secure and archival environment for art storage and exhibition.
-Working knowledge of computers and electronic data processing related to collections management.
-Possess excellent organizational and time management skills and must be flexible and adjust to the changing needs of the office. Ability to meet tight deadlines with little supervision.
-Thorough knowledge of current office practice and procedures, good business English and proofreading skills. Ability to effectively communicate verbally and in writing.
-Must have the ability to deal effectively and diplomatically with diverse personalities and backgrounds.
-Knowledge of University’s Policies and Procedures. Expected to perform the job in a manner that is consistent with the University’s mission and goals.
-Thorough knowledge of, and willingness to uphold and abide by, the University Galleries’ Collection Management Policy.
-Must be able to represent the office in a professional manner.
-Must be available to work gallery openings after normal business hours.

Background check: Successful completion of a pre-employment background check.

Degree Verification Requirement: Persons offered employment in this position will be required to provide official education transcripts for degree verification purposes.

Salary: Commensurate with experience; Medical and Retirement Benefited.

Hours: 30 hours per week; Monday – Thursday, 9:00 a.m. – 5:00 p.m.

Closing date: December 22, 2017

Click ‘Apply Now’ to complete our online application. In addition, please upload a cover letter and resume to your application profile for the hiring managers’ review. If you have any questions or difficulties please contact the Employment Services Team at 619-260-6806, or email us at hr@sandiego.edu

MANIFEST presents IMPRINT, an open international call to artists to submit works of printmaking. Manifest will strive to explore the range of methods and results currently being achieved within the bounds of such processes. This exhibit has no predefined expectation for type, or theme to be considered or selected. Submissions can range from the most traditional to most experimental. Works must feature printmaking as their primary media.

Like photography, printmaking is a genre of creative work that is underscored by its processes. Some artists are steadfast traditionalists, anchoring themselves in age-old technical methods. Others push the boundaries of the discipline, exploring just what constitutes ‘printmaking’. For this exhibit Manifest takes a fresh look at the media last featured in season 10. IMPRINT calls to artists to submit works of printmaking, and will strive to explore the range of methods and results currently being achieved within the bounds of such processes.

This exhibit has no predefined expectation for type or style of work to be considered or selected. Submissions can range from the most traditional to the most conceptual or experimental. The only criteria beyond excellent quality is that works must feature printmaking as their primary media.

ELIGIBILITY
IMPRINT is open to everyone. Professionals as well as students are encouraged to enter. The only limitation is that entries must represent original works which feature printmaking as their primary media.

MEDIA
Open to any and all traditional and non-traditional approaches to printmaking.

Manifest's carefully assembled juries change from project to project, and have no collective predisposition towards any particular kind or style of art.

ANNUAL CASH AWARD
A new annual Manifest Grand Jury Prize will result in the awarding of one significant cash prize ($2500) to a single work selected as the 'best of the entire season'. Winner will be determined by a final end-of-year jury from among a pool of all top-scoring works from each exhibit's jury process across the current exhibition season. This process will apply to exhibits from the start of our 14th season on September 29, 2017, and applies to each exhibit through August, 2018, including this one. Details on the Manifest Grand Jury Prize can be found here.

"The World of Print(s): Multiples and Meanings in Early Modern Europe and North America"

Program co-directors: Mark Hosford (Associate Professor of Art) and Kevin Murphy (Andrew W. Mellon Chair in the Humanities and Professor of History of Art)

The Robert Penn Warren Center for the Humanities will host a year-long interdisciplinary faculty seminar to explore the significance of printed words and images in Early Modern Europe and North America. Though the current age is often considered unique in terms of the amount of information constantly flooding the airwaves and the Internet, it is important to historicize the current phenomenon in comparison to the Early Modern period when there was an explosion of printed materials that similarly saturated the West. The advent of cheap print in the late seventeenth and early eighteenth centuries meant that larger audiences than ever before had access to the marketplace of written words, some serious and thoughtful, some salacious and sensational. Images on woodblocks combined with moveable type made possible the publication of a variety of illustrated texts as well. The visual culture brought about by the advent of this technology in the Early Modern period was the backdrop to the work of some of the greatest printmakers of all time.

The seminar participants will put printed works—comprising both textual and visual elements—at the center of an analysis that sees them as representations of discourses external to the objects and, at the same time, as material things. Seminar participants will draw upon contemporary scholarship through various disciplinary lenses, including literary theory and art history. By bridging a variety of disciplines, scholars in the seminar will produce a synthetic view of Early Modern visual culture and its role in shaping political and social opinion. This collaborative work will lead to new perspectives on current debates regarding the presentation and circulation of information and images in the twenty-first century.

We invite applications for the William S. Vaughn Visiting Fellowship from scholars in all disciplines whose lively presence will help to focus our work and stimulate discussions. The successful applicant will have completed the terminal degree in her/his field at the time of application and will have a record of scholarly publications, research, or creative expression. The seminar will meet regularly and will also allow the Visiting Fellow ample time to pursue a major research project. The combined interests of the Visiting Fellow and the Vanderbilt Faculty Fellows will determine the form and content of seminar discussions.

The Visiting Fellow is provided with a spacious office within the Center’s own building. The fellowship pays a stipend of up to $50,000 and provides $2,000 in moving expenses. Application materials may be downloaded from our website: vanderbilt.edu/rpw_center.

Complete applications must be submitted by January 19, 2018.