The study of early modern cartography has gone through several phases. At first, maps were often read as fairly neutral documents, placed in alignment with other technologies in a positivistic framework aiming toward ever-increasing accuracy. Experts in cartography were often collectors with great knowledge of the printing and publishing fields who exerted connoisseurial skill in assigning dates and workshops to individual maps. A second movement, following poststructuralist developments in the humanities, began to read maps as texts, rethinking their vocabulary and addressing the dynamics of power and authority implicit in them.

Now that a generation of cartographic studies have followed upon the heels of post-structuralism, it is time to ask where the study of early modern maps is next headed. A potential third avenue explores a phenomenological approach, investigating how sensory perceptions augment—or conflict with—the mapping of cities/territories by individual cartographers and the reading, buying, carrying, displaying, and treatment of maps by purchasers or users.

We seek papers that deal with individual responses to maps that help us better understand the way their makers and users interacted with them, as well as how they may have been read against their intentions by particular users. Questions these papers might consider include (but are not limited to): How did the use of surveying instruments augment or replace visual apprehension? How accurately could conventions of scale be read by viewers? Did some purchasers read maps differently than others? How did artist-engineers discuss the practice of surveying (the field assessment) and the production of maps (the picturing)? How did maps allude to—or not—the use of optical devices and measuring instruments? How easy was it to interpret a map in the field?

Proposals addressing any geographic area are welcome.

Please send an abstract (150-word maximum), paper title (15-word maximum) and a brief CV (300-word maximum) to Leslie Geddes (Tulane University) and Mark Rosen (University of Texas at Dallas) at lgeddes1@tulane.edu and mxr088000@utdallas.edu by May 30, 2017.

Although the history of caricatured heads can be traced back to Antiquity, as an independent genre, depictions of strange, fantastic, comical and repulsive heads arguably stem from the influence of Leonardo Da Vinci’s systematic and experimental teste caricate, which soon became widely known and copied. Less programmatically Michelangelo too experimented with the genre, both in quick sketches and more complete works. Later exponents of the genre, each of whom contributed his own vision to its development, were Annibale Carracci, Ribera, Guercino, Gian Lorenzo Bernini and, later, Carlo Maratti and Pier Leone Ghezzi, all of whom produced substantial bodies of graphic caricature.

This session seeks to explore the development of the grotesque head as an early modern genre and later influences. Participants are encouraged to put forward original readings of grotesque heads as depicted in drawings, paintings and prints, as well as those found in single and group portraits, and series. We hope to approach the subject from many angles and would welcome analyses of processes ranging from the ‘doodle’ to highly finished works; and discussions of the subject as a reflection of the human condition from socio-political stances, as well as the interaction between caricature and audience.

Please send proposals to Rebecca Norris rebeccamnorris@cantab.net and Lucia Tantardini lt303@cam.ac.uk by Wednesday, 31 May 2017.

As per RSA guidelines, proposals must include the following: paper title (15-word maximum), abstract (150-word maximum), keywords, and a very brief curriculum vitae (300-word maximum).

More than 150 residencies and fellowships are now offered annually to creative professionals of all types, making Ragdale one of the largest interdisciplinary artists’ communities in the country. Ragdale residents represent a cross-section of ages, cultures, experience, and mediums, for a diverse and vibrant community.

In each session, 13 artists-in-residence enjoy uninterrupted time for work, a supportive environment, dynamic artist exchanges, 50 acres of idyllic prairie, and a family-style dinner each evening.

Throughout the 16th century, the translation of sculptures, especially contemporary ones, into prints was quite uncommon – compared to the vast reproduction of paintings or drawn inventions in engravings or woodcuts.
Sculpture posed more difficulties to the printmaker. First of all, he had to render a three-dimensional object into two dimensions. Moreover the artist had to decide whether to complement his model: be it the fragmentary state of an ancient statue or the placing of a modern sculpture into a landscape or other setting. In many cases, printmakers even designed a whole narrative to round off their work. In addition to that, they had to choose the proper or best possible viewpoint. All these decisions were based on the strategies of the sculptor or printmaker regarding the publication of the print and its intended audience.

An essential aim of this session is to assess these and other related questions by analyzing prints produced between 1480-1600 in Europe and beyond. The session will continue a fruitful discussion started at the RSA conference 2016 in Boston, which included sculpture-related terminology in print inscriptions, the transformation of ancient sculpture in the early 16th century in Italy, and contemporary sculpture and its reception and interpretation via prints.

If interested, please send an abstract (150-word maximum) with paper title, keywords, and a brief curriculum vitae (300-word maximum) by May 21 to Anne Bloemacher (annebloemacher@uni-muenster.de) and Mandy Richter (richter@khi.fi.it). Submissions must be in English.

RESPONSIBILITIES:
Teach twelve credits per semester (typically three courses).
Conduct ongoing professional development and creative activity. Provide service to the department, university, and community.

QUALIFICATIONS:
Required:
MFA in Printmaking or MFA in Art with an emphasis in printmaking.
College level teaching experience.
Demonstrated ability to teach all aspects of printmaking including relief, intaglio, lithography, screen printing and digital and photo applications for printmaking
Evidence of ongoing research and professional activity.
Demonstrated ability to work effectively with people of diverse backgrounds.
Demonstrated ability to maintain printmaking studio
Ability to teach one or more of the following: drawing, illustration, foundation design.
Develop and teach sequential art course (course outline available at www.mnstate.edu/coursedescriptions - ART 305H - Sequential Art)

Preferred:
Ability to teach a course in visual culture and/or contemporary art theory.
Strong record of regional and national exhibitions.

APPLICATION INFORMATION & DEADLINE:
Applications received by May 8, 2017, will be guaranteed consideration. Position will be open until filled. All application materials must be submitted electronically. Completed applications must include a cover letter addressing required and preferred criteria, artist statement, teaching philosophy, vita, graduate and undergraduate transcripts (may be unofficial), three references with contact information, 20 images of your work, and 20 images of student work.

NOTICE: In accordance with the Minnesota State Colleges and Universities (MnSCU) Vehicle Fleet Safety Program, employees driving on college/university business who use a rental or state vehicle shall be required to conform to MnSCU's vehicle use criteria and consent to a Motor Vehicle Records check.

The successful candidate must provide official transcripts of all academic work completed and, under U.S. Citizenship and Immigration Services regulations, be able to accept work in the U.S. by the day employment begins.

This four-week residency in Malmö, Sweden is an unprecedented opportunity for artists working in print media and sculpture.

WSW has initiated a studio residency exchange with two not-for-profit collaborative workspaces: KKV Grafik Studio and Sculpture Workshop Monumental. Artists can choose to work in one or both studios, depending on their projects. Orientation to each studio is provided, however selected artists must be able to work independently and be familiar with the printmaking and/or sculpture processes they’ll be utilizing. Additional charges may apply if the selected artist needs professional assistance.

Both studios are located in the same building, and artists have 24-hour access to the facilities. Housing is provided in the building’s Sculpture studio section and travel costs, food, and materials are paid by the artist-in-residence.

The KKV Grafik Studio is a 3,000 sq/ft printmaking studio, professionally equipped for intaglio, silkscreen, lithography, and letterpress printing. The open space layout encourages dialogue and the cross-pollination of ideas. A small private workspace for preparatory work is also available. The Malmö KKV Grafik Studio was founded in 1973 and is self-governed by its 125 members, all of whom are artists. The municipality of Malmö is the fiscal sponsor of the workshop facility.

KKV Sculpture Workshop Monumental is a 10,000 sq/ft professional studio for woodworking, pottery, enamel, glass art, metal casting, metalworking, and model making. The Sculpture Workshop Monumental was established in 1973 as a foundation. Today, its members include about 300 artists and friends.

Applications due: June 30, midnight EST
Notification date: via email by August 15
Length of residency: 4 weeks
Residency occurs: July of the year following application

Application must include:
- A current resume
- A one-sentence project summary followed by a half-page project description (12pt type or larger)
- Up to ten images of recent work (digital specifications here)
- An image script, which should include the title, medium, dimension, and date of each image

The Allen Memorial Art Museum (AMAM) at Oberlin College seeks applications for the International Fine Print Dealers Association (IFPDA) Foundation Curatorial Internship. Funded by the IFPDA Foundation, this 8-week summer internship will allow the selected applicant to participate in a variety of aspects related to the care, display, and research of the AMAM’s significant print collection. This internship offers the opportunity to work closely and intensively with the museum’s collection and staff, and to contribute meaningfully to a variety of print-related projects. Working primarily with the Curator of European and American art, the intern will gain hands-on experience and professional training fundamental for a museum career in the field of prints through work on exhibitions and permanent collection maintenance and research.

Responsibilities
The intern will be expected to take an active, hands-on role in the museum’s planning for exhibitions and collection research. The intern will work independently with prints in the AMAM’s collection and therefore will be trained in the proper handling, housing, and care of prints, if needed, and in the AMAM’s policies and procedures. The intern will learn how to the use the AMAM’s collections management database (TMS) and work in conjunction with the supervising curator, making assessments of the prints’ techniques, condition, and suitability for specific exhibition displays. The intern will also collaborate on a rotation of modern and contemporary prints scheduled for installation over the summer, and assist in the planning for a loan exhibition of Rembrandt etchings.

Qualifications
The ideal candidate holds a master’s degree in art history and has experience working in a museum or gallery, but recent graduates with a BA in art history and significant research or curatorial experience in a museum or gallery setting would also be considered.
Excellent writing skills and strong research and organizational skills are necessary. The candidate’s field of interest can be open, but the applicant must be proficient in at least one European language and have a proven interest in prints and printmaking.
It is highly recommended that the candidate can drive, as public transportation options in the vicinity of Oberlin are limited.

Compensation
The intern will receive $3000 paid in equal installments through the duration of the internship.


Application components
1) cover letter explaining the applicant’s interest in the position, and provide an account of how past museum or gallery experiences and/or coursework have contributed to the applicant’s knowledge and interest in the fine art prints. The letter will serve as a writing sample.
2) C.V./resume with contact information
3) Academic transcript(s)
4) List of references, including contact information for at least one academic and one professional reference

Applications must be submitted via the Oberlin Jobs website by May 5, 2017.

Only candidates selected for interviews will be contacted.

Salary: £20,118 per annum pro-rata
Contract: Fixed Term Contract: 12 months in duration (Full time: 41 hours per week)
An exciting opportunity has arisen for a Print Cataloguer to join the British Museum’s Prints and Drawings department. The successful post holder will work as part of a team to catalogue the Museum’s collection of 18th – 20th century prints, currently held at Blythe House, using the Museum’s database.

The post holder will be able to demonstrate strong attention to detail and will be required to enter information accurately as well as to create entries that are as complete as possible, within the constraints of performance targets.

It is essential that the post holder has an A-Level or equivalent qualification in an arts subject, with good reading knowledge of another European language. In addition it is necessary that they have some knowledge of old master prints and print history. The post holder should have experience working/volunteering in a museum and will have an excellent command of English, being able to write clearly and succinctly.

About the British Museum:

Founded in 1753, the British Museum’s remarkable collection spans over two million years of human history and culture. With over 6.8 million visitors in 2015, the Museum is the top visitor attraction in the UK, and its world-famous collection includes the Rosetta Stone, the Parthenon sculptures, Egyptian mummies, the Admonitions Scroll, and the Amaravati sculptures.

The Museum adheres to the HMG Baseline Personnel Security Standard (BPSS) requirements for all staff at the British Museum.

The Museum is an equal opportunity employer, supports a diverse workplace and offers a competitive benefits package including:

• Membership of the civil service pension scheme
• Free entry to a wide range of museums and exhibitions
• Participate in private and public Museum activities, including talks by leading curators from around the world and behind-the-scenes opportunities to learn how museums care for and manage their extraordinary collections
• Generous annual leave allowance
• Interest-free season ticket loan
• Child care voucher scheme
• Professional & personal development opportunities
• Employee Assistance Programme
• Discounts on food and gift shop purchases

If you are a positive individual, passionate about the Museum and would like to know more about this exciting opportunity, please follow the “Apply now” link below where you will be directed to complete your application.

Closing date: 8th May 2017, Midday

If you have any queries regarding this role, please email us at bm@penna.com or call 0845 601 1124. Please quote the job reference number in the subject line of any email and at the beginning of a call.

Senate House, London, December 1, 2017
Deadline: Sep 1, 2017

CFP: ECR Training Day: Using Historical Matrices & Printing Surfaces in Research
Senate House, London, 1 December 2017
Deadline: 1 Sept 2017

Convenor: Elizabeth Savage, Institute of English Studies
Facilitators: Giles Bergel (Oxford) and Roger Gaskell (Roger Gaskell Rare Books)

This free, hands-on, object-based training day will introduce 10 ECRs to the research of historical matrices/printing surfaces (e.g. cut woodblocks, etched metal plates, litho stones). The emphasis is pre-1830. By analysing the objects and resulting impressions, participants will learn how to describe them; identify how they were made, used and copied; relate them to printed content; and use them as primary material in their own research. The interdisciplinary remit includes text and image, as well as decorations, initials, medicine, music, mathematical symbols, scientific imagery, and more. This event is the first application of a new research framework, which will later be published open access. Participants will learn new research skills and, through their feedback, help shape the future of research in fields related to print heritage.

Registration is free, lunch and a wine reception are provided, and transport is reimbursable up to £50. Participants must be current PhD students or have taken their PhD less than 10 years ago (i.e., in or after 2007). Apply online (deadline 1 September 2017) at http://tinyurl.com/ECRmatrices.

This event is funded by a British Academy Rising Star Engagement Award (BARSEA) for 'The Matrix Reloaded: Establishing Cataloguing & Research Guidelines for Artefacts of Printing Images’.