The Ruth and Harold Chenven Foundation gives annual awards of $1500 to individual artists living and working in the United States, and who are engaged in or planning a new craft or visual art project. The Foundation does not accept film, video, performance art or music submissions (except as those media are integrated into a larger craft or visual art project).

An independent jury of artists and/or art professionals will judge the submissions and make its recommendations to the Foundation Board of Directors for final approval. Between 4 and 7 awards are granted annually. Previous winners of a Foundation grant are not eligible for a second award.

Materials from the winning submissions will be retained by the Foundation and may be used by the Foundation for publicity purposes.

Announcement of Awards: 2017 Grantees will be notified by the end of October and their names will be publicized on this website and on our Facebook page in early November. Due to the large volume of applications, only the award recipients will receive individual notification. The Foundation regrets that it is unable to return application materials.

YOUR APPLICATION MUST INCLUDE THE FOLLOWING MATERIALS:

- Artist Statement: One page (maximum 75 words, PDF format) of information about yourself and your work. This page must contain your full name, mailing address, email address, and – if you have one – your website address.

- CV: A curriculum vitae (maximum two (2) pages, PDF format), which includes your full name.

- Project Description: One page (maximum 100 words, PDF format) describing the project for which you are seeking an award. The Project Description must include the amount of funding you are requesting and how the funds will be used. However, a detailed budget for your project is not required. This page must include your full name.

- Image List: One page (PDF format) inventory list of your .jpg images. The list must include the following: title of work, medium, dimensions, and date completed. On the same page, following the list, also include a single, brief description of how the collective images relate to your overall body of work or the project for which you are seeking an award. Include your full name.

- Images: Five (5) images of your work, as 300 dpi .jpg files, sized at 5×7 inches. Each .jpg file must be named with the title of the work. Images of work created before 2013 will not be considered. Please submit images that best represent your current work, or the work for which you are seeking an award.

SUBMISSION INSTRUCTIONS:
- You may submit your material in one of three modes: on a CD, a memory stick, or via email.
- Your materials must be divided into two (2) folders.
- In the first folder, include materials 1, 2, 3 and 4. Label the folder with your first initial, underscore, last name, i.e. Jane Smith as J_Smith. In the second folder, include your .jpeg images. Label the folder with your first initial, underscore, last name, and “images.” i.e. Jane Smith as J_Smith_Images.
- Please ensure that you have followed all instructions carefully. Incomplete applications or applications that do not adhere to the instructions will be disqualified. Do not send any additional materials, as these will not be considered by the judges.

Mail completed application to:

Ruth and Harold Chenven Foundation
P.O. Box 1027
New York, NY 10040

Or email your application to pbunten@chenvenfoundation.org.

Applications will be accepted beginning May 15th, and must be either postmarked or emailed by NO LATER THAN July 15th.

Full-time one year Position for the 2017-2018 academic year in Printmaking at Brandeis University, Department of Fine Arts

The Department of Fine Arts, Brandeis University, invites applications for a one year non renewable interdisciplinary printmaking position. This is a full-time appointment starting at the level of lecturer.

Qualifications: MFA or equivalent experience in printmaking, with college teaching experience beyond the level of teaching assistantships, and an active exhibition record.
This position requires a dynamic approach to printmaking studio processes and materials. We are looking to sustain printmaking as a tradition, but at the same time engage the printmaking studio as an active, interdisciplinary exploration of contemporary practices.

Candidates must be familiar with intaglio, relief printing, silk screen and have a thorough knowledge of contemporary art and art history. Candidates must also be comfortable working with students at the introductory and intermediate levels, as well as be able to teach formal and conceptual skills within a liberal arts university setting. Additional experience in new media, drawing, sculpture, or non toxic printmaking practices is desired.

The Fine Arts Department is searching for a colleague who will participate in the department and oversee the print shop of the Fine Arts Department. This position will carry a teaching load of three printmaking courses and two additional courses in either drawing, sculpture, or new media in addition to maintaining the upkeep and safety oversight of the print shop.

Brandeis University is a small competitive research university located in the metropolitan Boston area. The faculty of the Department of Fine Arts is comprised both of artists and art historians. An excellent visiting artists program and the Rose Art Museum are on-campus resources that augment the studio curriculum. Additional information regarding the Fine Arts department and learning goals can be obtained from the departmental website: http://www.brandeis.edu/departments/finearts/

Applications for consideration must include the following materials:

Cover letter, 15 images and/or video documentation of recent work with corresponding reference sheet in PDF format, 5-10 images of student work also with corresponding reference sheet in PDF format, a C.V. that includes exhibition and teaching experience, a statement of teaching philosophy, the names and contact information for two references.

Materials can be emailed to the following address:

wardwell@brandeis.edu

First consideration will be given to applications submitted by June 20th, 2017.

Brandeis University is an equal opportunity employer, committed to building a culturally diverse intellectual community, and strongly encourages applications from women and minority candidates.

While many museums throughout the United Kingdom hold remarkable graphic collections, for a variety of reasons these are often less studied and shown than similar collections of painting and sculpture. This Study Day aims to consider how drawings collections can be opened up and made more visible and accessible to artists and art students, to complement curricula at art schools and to generate audience and community engagement around the UK.

Over the past three years the Bridget Riley Art Foundation project has seen over a thousand students from art schools around London visit the Prints and Drawings collection at the British Museum. This was part of a wider project to encourage art students to draw, including a touring exhibition shaped by discussions with students during these workshops. Examining the nature of drawing as a thinking medium, "Lines of thought: Drawing from Michelangelo to Now" toured to three UK partner venues in 2016-17: Poole Museum, Hull University Art Collection and Ulster Museum. More than 1,500 students visited the exhibition at workshops held in these partner venues.

Using the rich graphic holdings of the British Museum, and calling on outside collaborators who worked on "Lines of thought," this Study Day will provide both an opportunity for discussion and a practical introduction for curators who wish to develop the use of their collections according to their specific institution’s aims, needs and resources.

Key aspects of the Study Day will include:
o Frameworks for trans-historical research and interpretation of works on paper
o How to connect drawings collections with local artists and educators
o The relevance of drawing to contemporary arts education
o Insights on documenting and digitisation
o Displaying drawings within the framework of your institution
o Networking with other curators of drawings collections
o Discussion of contemporary drawing: themes, material and practice

To request a place on this Study Day, please email UK Partnerships Co-ordinator, Georgia Mallin, at gmallin@britishmuseum.org by 24 May 2017. Please include a brief paragraph describing your role, the nature of your organisation’s drawings collection, and how you might wish to develop its study and use. Places will be confirmed by 31 May.

There are limited travel bursaries available for delegates for whom travel costs would prevent them from attending. Please state if you would like to apply for a bursary when requesting your place. If you are interested in the Study Day but are unable to make this particular date, please consider sending an application to register your interest, as there is the possibility of additional Study Days in the future.

The Studios at MASS MoCA offers residencies for artists and writers from 1 to 8 weeks. Selected participants receive private studio space on MASS MoCA’s campus, newly renovated housing (private bedroom, shared kitchen & bath) directly across the street from the museum, one group meal per day, free access to the museum’s galleries, optional financial and business coaching from MASS MoCA's Assets for Artists staff, and free use of Makers’ Mill, a printmaking and fiber arts makerspace located a short walk from the Studios. For this upcoming residency season, we're offering something more: two residency sessions with a special focus on "financial Wellness." A subset of the artists invited to participate in the fall/winter season will be offered slots in a two-week residency session that includes group workshops with artist experts on personal finance and business planning, and one-on-one assistance with financial and business planning, along with a $500 travel stipend. The residency fee for those sessions will be reduced to just $150/week. Interested applicants will provide additional information to be considered.

Historians of Netherlandish Art (HNA) Sponsored Session

Twenty-five years ago, Walter Melion, Timothy Riggs, and Larry Silver brought attention to the understudied subject of reproductive engraving in northern Europe with the exhibition and its accompanying catalogue, "Graven Images: The Rise of Professional Printmaking in Antwerp and Haarlem 1540-1640". Their essays explored the work of individual artists, the processes of technique and dissemination, and contemporary writing about reproductive engraving.

In the ensuing quarter-century, with notable exceptions such as the "Paper Museums" exhibition and catalogue (2005), we have not returned to the topic of Netherlandish reproductive printmaking with sustained focus. Through deepening scholarly interest in early modern print culture over the same 25 years, how has our understanding of specifically the reproductive print changed? What can be learned, for example, from studies of reproductive printmaking centered in the Netherlands vs. a broader geographical conception of the subject? Does knowledge about how gender functioned in the early modern artistic workshop expand our perspective on reproductive printmaking? Papers are invited that address any aspect of our changing notion of the Netherlandish reproductive print from 1350-1750.

Proposals should be 20-minutes papers and must include a title, abstract of no more than 150 words, keywords, and a C.V. of 300 words (no prose), and a short bio. Speakers will need to be members of RSA at the time of the conference.

Please send your submission to Amy Frederick (amy.frederick@centre.edu) by 26 May 2017. Applicants will be notified by 1 June.

Works collaboratively on a wide range of modern and contemporary artworks across all curatorial departments and participates in all departmental activities, including examination, documentation, treatment, and research of collection materials, as well as exhibition, collection care, loan, and courier responsibilities. Examines, documents, and treats paper works in the collection through written and photographic documentation. Participates in all departmental activities, including acquisition, preparation of works for exhibition, collection care, loans, and research. Monitors hinging, matting, storage, environmental conditions, and other preventive conservation steps for the collection on an ongoing basis. Assists with the maintenance of work areas in the conservation lab, including researching supplies and equipment, maintaining materials, and replenishing supplies. Works collaboratively across departments at the Museum, including Conservation, curatorial, Exhibition Planning and Design, and Collection Management and Exhibition Registration. Conducts research centering on treatment protocols, artist materials, and methods. Participates in training and supervision of interns and fellows. Reports to Paper Conservator and The Agnes Gund Chief Conservator.

Requirements:
- Graduate degree in the conservation of works on paper.
- Two years experience with works on paper in a museum setting or equivalent is required for the assistant conservator level; five years experience is required for the associate conservator level.
- Experience performing all aspects of the treatment of works on paper and related artworks, with adherence to the Code of Ethics - and Standards of Practice of the American Institute for Conservation.
- The Museum of Modern Art has an emphasis on the collecting and preservation of contemporary art. Therefore, demonstrated interest and experience in the conservation of contemporary works is strongly encouraged.
- Knowledge and experience of documentation procedures, including digital photography and other imaging techniques.
- Strong interpersonal and written communication skills.
- Ability to work cooperatively on projects and independently on treatments.
- Ability to travel as required.
- Experience engaging with artists and their studios is desirable.
- Familiarity with the Museum’s collection management system, The Museum System, is desirable. Final title assignment dependent on credentials of finalist.

Application Process:
- Candidates must submit a detailed letter of interest stating education, work history, involvement with modern and/or contemporary art, and research interests.
- The inclusion of a writing sample, either published work or work-related documentation or research, is strongly recommended.
- The application should include the names of three references, but letters from references are not requested. No treatment reports are requested and should not be included.
- Candidates invited for interviews will be asked to supply treatment reports at that time.

All material, in digital form, should be sent to jobs@moma.org by no later than June 2, 2017. If hired, individual must successfully complete a security threat assessment through the Department of Homeland Security.

Cooper Hewitt’s Drawings, Prints & Graphic Design (DPGD) department, among the world’s foremost repositories of European and American works on paper, holds over 147,000 drawings and prints dating from the Renaissance to the present. Included are designs for architecture, decorative arts, interiors, ornament, jewelry, textiles, graphic and industrial design, and the fine arts. Among highlights are the collection of over 400 albums of European ornament prints; Italian studies for architecture and interior decoration; and extensive holdings of American, European, and Japanese post-war graphic design. A noted strength is over 10,000 American 19th-century drawings and prints, including the largest collections of Frederic Edwin Church and Winslow Homer drawings in the world. The Department annually welcomes over 400 scholars, students, collectors, and the public to the Drue Heinz Study Center for Drawings and Prints and the Henry Luce Study Room for American Art. The Assistant Curator will report to the Associate Curator and Head of Drawings, Prints & Graphic Design.

Major Duties and Responsibilities:

Collections
Helps develop an acquisitions priority plan for building the Drawings, Prints & Graphic Design collection, with an emphasis on 17th-19th century works, strategically filling in historic gaps. Actively works on acquisitions from the 20th and 21st centuries under guidance of Associate Curator.

Exhibitions
Initiates, plans, and prepares temporary and permanent exhibitions. Participates in a multidisciplinary approach to exhibitions working collaboratively with the various departments to develop content that addresses the museum’s goal of optimizing the visitor’s engagement and experience.

Research and Professional Development
In addition to researching new acquisitions, an important component will be researching, cataloging, interpreting, and writing object significances for works in the collection. This work will be coordinated with the museum’s major digitization initiatives.

Public Outreach
Initiates and proactively explores the museum’s holdings to expand and disseminate knowledge about the collection. Participates in gallery talks, symposia, juries, and panel discussions or other programs related to 17th-19th century architecture, decorative arts, and works on paper.

QUALIFICATION REQUIREMENTS:
*Demonstrated expertise in the history of European art, architecture, design and decorative arts from the 17th-19th centuries, as well as knowledge of 20th and 21st century design history, including its principles, traditions, historical contexts, and research methods.
*Knowledge or experience with a collection devoted to works on paper to perform collections management, scholarly research, exhibition planning/production, publishing, public service, and administration.
*Experience with planning and developing exhibitions.
*Experience in acquisitions and outreach.
*Ability to write scholarly papers and articles for journals, exhibition catalogs, museum publications, labels and web posts.
*Education Requirements: Master’s Degree or higher in the history of art, decorative arts, or design.
*Proficiency in at least one foreign language, preferably Italian or French.
*A minimum of 2-3 years of experience working in a museum preferred.

SALARY: $56,754, exceptional benefits

HOW TO APPLY

Please submit a cover letter and resume addressing the qualifications of the position via email to: HRcuratorDPGD@si.edu. This position is open until filled.

The Milwaukee Art Museum is looking for a part-time temporary Research Assistant to work on an upcoming exhibition of modern European drawings from the museum’s collection (with particular strengths in 19th-century French and early-20th century German works). Assist with researching drawings in the museum’s collection, including provenance, exhibition history, and verifying attribution; maintain organization of research and object files; image research and managing comparative illustrations for publication; potentially writing catalogue entries for publication. The position is flexible, and will run from approximately June through October, 14 hours/week, potentially divided between time on- and off-site.

Education/Experience Requirements:
M.A. in art history or currently enrolled in a Ph.D. program (preferably with some experience with works on paper). One to two years of museum experience and reading knowledge of French and/or German are required. A high level of professionalism and discretion are required, along with excellent organizational and research skills, and demonstrated writing abilities.

Royal Museums Greenwich (RMG) encompasses a unique blend of history, science and art, at the centre of the Greenwich World Heritage site. Student Internships at Royal Museums Greenwich support research in maritime and naval history; material culture; royalty, court culture, art and architecture; and the history of science and technology, in the context of maritime history, astronomy and time.

Internships are particularly beneficial to those considering postgraduate research.

About internships
Designed around a defined project, our Student Internship Programme provides access to our world class collections, plus valuable experience in the study of material culture. During each internship, participants undertake new research that furthers understanding of the collections at the Museum, and they help to increase the accessibility of our collections to audiences. Participants are encouraged to put research outcomes towards their university dissertation, article assessments or seminar papers.

Who can apply
- Holders of UK/EU passports who have the right to live and work in the UK.
- Postgraduate students.
- Final year undergraduates who wish to use research on the Museum's collections for a dissertation or long essay.
- Students between undergraduate and postgraduate study.

Applicants are invited to suggest their own research topic for their internship. A selection of potential topics (incl. some print related topics) based on the expertise of our curators are listed below for inspiration.

Art and architecture
- The Queen’s House
- Architecture
- Fine and decorative arts
- Fashion and interiors
- Art and astronomy
- Provenance research

Charts and maps
- Cartographic materials and historic globes

Horology
- Horological collections.
- Time derivation
- Time distribution
- Changing aesthetic and functional aspects of timekeepers in relation to changes in society.

History of navigation
- The use of scientific instruments in polar exploration (mid 19th to early 20th century).
-The process of invention and adoption of navigational instruments eg. instruments produced as prototypes and used for trials, or those which did not prove to be successful.
- The development of computing instruments for navigation

History of science and technology and the Royal Observatory, Greenwich
- The history of magnetic and meteorological instruments used at the Royal Observatory Greenwich (late 19th to early 20th century).
- Object-based research on our collection of telescopes, sundials astronomical compendia and astrolabes
- The history of photographic and spectroscopic techniques and instruments used at the ROG

Naval history
- Researching and cataloguing the Museum’s collection of Theodor de Bry prints. This famous engraver created numerous depictions of the early European expeditions to the Americas, and the NMM has one of the finest collections of his work. Applicants with some knowledge of early-modern history/art history are encouraged to apply.

Ship models, Ships’ Equipment and Boat collections
- Lifeboats and lifesaving
- Sailmaking
- Half block models, their design, development and uses
- Maritime patent models
- Sectional models (such as bow, midship and stern), design, development and uses
- Naval architecture and Royal Dockyards
- We particularly welcome projects which involve researching and cataloguing the Museum’s Ships’ Equipment collection
- Anchors (model and full sized)
- Ships’ bells

Student internships last up to six weeks, depending on the scope and level of the proposed project.

The bursary offered is £1,575 gross for the six week period.

2017–18 proposal deadline: Wednesday, 31 May 2017

Application contact details: send applications to Lizelle de Jager by e-mail ldejager@rmg.co.uk

Start date: successful applicants will discuss their start date with the relevant curator. Internships take place between July 2017 and April 2018.

Please note: successful applicants must meet the requirements.

In the early modern period, artistic ideas circulated on an unprecedented scale: locally, (inter)nationally, and globally. Indeed, these circulations were among the main factors in the great fecundity of the arts during this period. This panel seeks to define the nature
of artistic ideas and examine how they travelled, from the perspective of three key players: people, art objects, and texts. We are explicitly interested in circulations on any scale and without geographical boundaries: within Europe, between Europe and its (proto-) colonies, and within any other region, in the belief that the discussion will benefit from the input of researchers from different research traditions.

Possible topics may include, but are not limited to:
- Ideas of art and their circulation and transformation
- The role of art literature in this process (art theory, criticism, travelogues, diaries, print culture, etc.)
- Artefacts as material embodiments of ideas
- Regional, national and (inter)continental networks
- Methodological and theoretical reflections on the study of circulations, including cultural exchange, histoires croisées, assimilation, hybridity, mestizaje.

Proposals for 20-minute papers should include:
- Preliminary paper title
- Abstract of 150 words
- Keywords
- Curriculum vitae of 300 words, including full name, current affiliation, and email address

Please send your submission to Marije Osnabrugge (marije.osnabrugge@univ-montp3.fr) and Elsje van Kessel (ejmvk@st-andrews.ac.uk) by 25 May 2017, using the subject line ‘RSA 2018’. Applicants will be notified by 5 June.