Job Summary
The Grippe Curatorial Fellow is responsible for the Peter Grippe Collection, comprised of about twelve thousand works of art, including sculpture, paintings, prints, drawings, collages, printing plates, and sketchbooks by Peter Grippe, with additional works by his wife, Florence Grippe, and a small selection of prints and drawings by other artists. This Fellow will be a full-time, one-year appointment who will report to the Vice President of Curatorial Affairs. Start date is July 1, 2017.

Known primarily as a sculptor and printmaker, Peter Grippe took on the directorship of Atelier 17, the renowned and influential print workshop, in the early 1950s in New York.

Responsibilities
• Make recommendations regarding accessioning and dispersal for works of art in the Grippe Collection. Provide specific recommendations for institutions to which to donate and a selection of works to offer to each. Make recommendations for dealers and auction houses to approach for possible sale of works. Contact institutions, dealers, and auction houses to complete the dispersal of the collection.
• Evaluate condition of artworks to determine whether conservation is necessary.
• Write a narrative explaining the criteria and reasoning for the selection of works from the Grippe Collection recommended for accessioning into the Allentown Art Museum’s permanent collection. This will be based upon an evaluation of the Grippe collection as a whole, with consideration of how this collection fits into the Allentown Art Museum’s print collection, American art collection, and overall collections.
• Conduct research as necessary to complete this work.
• Catalogue accessioned works from the Grippe Collection and enter information into database.
• Develop exhibition and project proposals based on the Grippe Collection.

Qualifications
• Master’s degree in Art History or a related field
• 1-3 years museum experience preferred
• Knowledge of prints preferred
• Art handling experience preferred
• Excellent research and writing skills
• High level of organizational skills, aptitude for detail, and ability to work well independently
• Strong time management and interpersonal skills

TO APPLY
Please submit your resume and cover letter by email to: hr@allentownartmuseum.org

The Allentown Art Museum is committed to providing equal employment opportunities without regard to race, creed, color, national origin, sex, age, veteran status, sexual orientation, and disability.

Empty Spaces in the Graphic Arts – The Function, Aesthetics, and Meaning of Unmarked Surface

Workshop at the Kunsthistorisches Institut in Florenz – Max-Planck-Institut

That drawing and print illustration are constituted by the presence and absence of marks, while compositional structure emerges out of their correlation and balance: this is probably the simplest way of defining these genres. Within this basic condition, the interplay of form and non-form does not necessarily lend the blank sheet a subordinate role with respect to the drawn line. The purpose of the workshop is to address the forms and functions of this unmarked space in the graphic arts of the Early Modern period. Central questions and problematics may include:

- What types of empty spaces exist and how do they differ semantically?
- What aesthetic potential does empty space hold in the work of art? Possible issues here would be its relationship to surface, its role as a spatial or perspectival element, or its chromatic values.
- Does the relationship between graphic content and empty space presuppose a space for abstraction?
- How does empty space serve as a vehicle for the aesthetic imagination of the artist and/or beholder? Could empty space be the place where an artistic 'idea' crystallizes?
- What kinds of empty spaces are technically conditioned? How can they be distinguished in drawing or print?
- How do we deal with non-artistic aspects of the empty image surface (the structure of paper and its color, watermarks, ageing, etc.)?
-What are the implications of cutting an image support?
- What role might the 'verso' play as an empty space?
- How can metaphors ("blinder Fleck," et al.) and philosophical ideas and concepts ("horror vacui") be related to Early Modern drawings and prints?
- What is the role of empty space in the Early Modern discourse on drawings and prints?

The two-day event offers the possibility to develop a 20-minute presentation in German, Italian, or English on these and other themes concerning the technical, aesthetic, and theoretical empty spaces in the graphic arts of the Early Modern period. In addition there will be an opportunity to select objects for view in a collective working conversation at the Gabinetto dei Disegni e delle Stampe degli Uffizi.

Please send an abstract (max. 500 words) and a short CV in a single PDF by 06/06/2017 to lisa.jordan@khi.fi.it and elvira.bojilova@khi.fi.it. The Kunsthistorisches Institut in Florenz – Max Planck Institut will cover travel costs (economy class) and accommodation in accordance with the provisions of the German Travel Expenses Act.

McNeese State University invites qualified applicants and nominations for the position of Assistant Professor of Art: Drawing/Printmaking in the Department of Visual Arts. This is a full-time, 9-month, unclassified, tenure-track position. The appointment begins in August 2017.

POSITION DESCRIPTION AND RESPONSIBILITIES:
The Assistant Professor of Art: Drawing/Printmaking is responsible for functions related for teaching a broad range of beginning through advanced media-specific studio topics relevant to Drawing and Printmaking. The instructional load for this position consists of three (studio-lab: 6 hours, credit: 3 hours) courses each semester (fall and spring). Mentoring of advanced students within relative concentrations is expected. The Assistant Professor of Art: Drawing/Printmaking requires the selected candidate to aid in the management and upkeep of the Department of Visual Arts Studio Spaces, securing models for life-drawing, as well as to contribute to the development and implementation of the Visual Arts drawing and printmaking curricula. The selected candidate assumes all responsibilities related to Student Academic Advising, various University Committee Appointments, and Department-University-Community service initiatives while actively pursuing personal research.

QUALIFICATIONS:
Required: Master of Fine Arts degree with qualifications to teach a broad range of media-specific studio topics relevant to drawing and printmaking.

Preferred: M.F.A. in drawing and or printmaking knowledge and teaching experience. Preferred candidate will have 18 graduate level hours in drawing and/or printmaking.

SALARY:
$44,000

DEADLINE:
Review of applications will begin immediately and will continue until position is filled.

APPLICATION MATERIALS AND CONTACT:
For the application process, applicants should submit:
Letter of Application
CV
Teaching Philosophy
Artist Statement
Flash drive of images in PPT or PDF format of candidate's own recent work and that of prior or current students
Accompanying image list
Three Letters of Reference
Official/unofficial transcripts

Please submit the required documents to:

Meghan Fleming, Chair
Department of Visual Arts
McNeese State University
Box 92295
Lake Charles, LA 70609
Voice: (337) 475-5060
Fax: (337) 475-5927
TDD: (337) 562-4227
mfleming@mcneese.edu

The Artistic Director will: develop curriculum and invite guest faculty to teach; supervise studio coordinators, workshop instructors and interns; work with administrative staff on course development, promotion, student recruitment, program marketing and assessment as well as teach workshops on a periodic basis. It is expected that the Artistic Director participate in the Artist-in-Residence Program by conducting the initial review of applications, supporting jury selection, participating in residency functions and acting as a mentor to residents. As part of a team of Artistic Directors representing the major art disciplines offered by the Ranch, the individual is expected to collaborate as a team member on envisioning and implementing the organization’s strategic goals and objectives.

Core Responsibilities ----
Overall direction and management
Developing curriculum and programs
Serve as Director of Anderson Ranch Editions, a contemporary print publishing house. This includes curating, scheduling and budgeting for all Editions projects, ensuring the care and proper storage of all prints, maintaining an accurate and up-to-date inventory of all Editions works in concert and supported by the Studio Coordinator
Developing and managing an annual budget
Participating in Ranch management, staff and Board of Trustees meetings
Supporting the organization’s outreach activities through studio tours, lectures and demonstrations
Supporting staff, Board and development office activities to create positive relationships with volunteers, cultivate donors and participate in Board/staff committee work
Representing the Ranch programs nationally to schools and conferences, and developing collaborative programming with other organizations to expand Anderson Ranch’s national and international reach
Soliciting artwork for and participating in the Annual Art Auction
Encouraging and maintaining sponsorship arrangements and cultivating giving opportunities
Be responsible for and oversee these functions within the work areas:
Maintaining and enhancing the Ranch’s painting and printmaking facilities
Order major and minor area-related studio equipment and materials, and oversee installation and safe operations
Oversee the safety protocol and maintenance within studios
Continually enhance professional development and artistic practice including: undertaking an annual schedule of traveling for professional enrichment including studio, gallery and museum visits with artists, dealers and curators; maintaining a standing as an important member of the contemporary painting and printmaking artistic communities through producing work, participating in exhibitions and seeking opportunities for publication of artwork
Be responsible for administering, supervising and implementing one of our core programs such as: workshops, visiting artists program, artist-in-residence program and/or gallery exhibitions

Requirements ---
Master of Fine Arts Degree; capacity to engage with professional artists and educators, and balance professional duties while maintaining and developing an artistic practice. Extensive teaching experience as well as experience in managing and maintaining studios in painting and printmaking. Ability to troubleshoot and maintain equipment. Exceptional organizational skills including ability to multitask. Self-directed individual, pro-active thinker with creative problem-solving skills. Familiarity and experience with traditional printmaking processes, painting and contemporary art making. Administrative experience: the ability to manage and delegate to a team of studio coordinators and interns to facilitate successful program strategies. Excellent oral and written communication skills. Team player with demonstrated skills. Preferred experience in nonprofit, entrepreneurial endeavors, fundraising and grant writing.

Compensation and Benefits
Anderson Ranch Arts Center offers a competitive salary and benefits package and a supportive work environment.

2017 Fall Artist Residency

Ends on May 1, 2017
Fall residents are given the time, solitude, and focus often unavailable to so many working artists. Each fall between 25 and 30 artists participate in the residency creating a community of engaged peers. At Ox-Bow, artists can enjoy 24-hour access to their studios, and an inspirational setting, free from the expectations of commercial and academic demands. During the fall season, Artists in Residence have the opportunity to work in studios not available during the summer session. Three studios are dedicated specifically to writers. The fall is also an ideal time to propose group or collaborative work. Please complete the application below. If you have any questions, contact us at 1.800.318.3019.

Please note, the fall residency is open to all artists not currently enrolled in a degree-seeking program.

2017-2018 KALA FELLOWSHIP AWARD

For over 30 years, Kala Art Institute has annual awarded artists time, space, and financial support for their work through the Kala Fellowship award. The Kala Fellowship award is an international competition open to artists from the U.S. and around the world. Artists producing innovative work in all mediums including printmaking, digital media, installation art, social practice, photography, and book arts are encouraged to apply. Fellowship Awards are given based on conceptual creativity, originality, and artistic excellence as well as technical knowledge.

In 2017, Kala will award eight artists a $3,000 stipend, unlimited access to Kala’s facilities for up to six months, one Kala class, and a culminating show in the Kala Gallery. The award is geared towards supporting artists in completing specific projects or bodies of work that would benefit from Kala’s specialized equipment in printmaking and digital media.

Each Fellowship Award Includes:
Cash Award: $3,000
Studio Residency: Up to six months of studio residency at Kala Art Institute with 24/7 access to our communal studio spaces. An individual studio space may be also available depending on proposed projects and schedules.
Kala Class: One class or tutorial session that will provide training in a chosen area of printmaking and/or digital media
Exhibition: Each artist selected is included in our annual group exhibition of Fellowship artists. Public programs for artists are also possible and determined on an individual basis with each artist.
Community: Access to a community and network of approximately 75 artists working at Kala, participation in Kala events, and support of Kala staff.

Program Period
The 2017-2018 Fellowship residency period is October 1, 2017 through July 31, 2018. Artists must be able to schedule a 1 to 6 month residency during that time. The group exhibition is currently scheduled for July through September 2018.

2017 Competition
The 2017 Fellowship competition will be juried by Kala’s Artist Director and a panel that includes one Fellowship alumni artist and one invited bay area arts professional (TBA). Deadline: May 18, 2017

Click here to Apply through Slideroom.

A Full Application Includes:
-Completed Application Form
-Statement of Interest in working at Kala Art Institute and how a Fellowship Award will affect a specific future project and/or how it will impact your overall practice.
-Artist CV
-Documentation of recent work (see specifications on the online application for guidelines according to discipline)
-Two References
-$30 Application Fee

Please note:
– This is a studio residency only; housing is not included.
– Students who will be enrolled in a degree granting program in the 2017-2018 academic year are not eligible for the award.

For questions about the online application guidelines, e-mail Program Manager, Amber Hoy at amber@kala.org.

Printed Matter, the world's leading nonprofit organization dedicated to the appreciation and dissemination of artists' publications, is seeking a Fairs & Editions Coordinator. This individual, alongside the Fairs & Editions Curator, will be responsible for coordination of the NY and LA Art Books Fairs, Printed Matter’s fundraising editions program, and Printed Matter’s participation in other art fairs. This individual should be confident in the logistics of events management, an advocate for the mission of the organization, and have a passion for artists’ books. The position is full-time (4 days a week, Monday – Thursday), with benefits, and reports to the Fairs & Editions Curator and Executive Director.

Core Activities:

NY and LA Art Book Fair
- Negotiate rental contracts with museum venues
- Review and accept exhibitor applications
- Prepare all exhibitor contracts
- Create invoices for exhibitor booths and vitrine rentals
- Design the layout of fair
- Oversee fair guidebook writing, production and editing
- Maintain the fair websites
- Keep detailed fair budgets
- Recruit, hire and train Fair Assistant, Fair Volunteers, Visitor Services team

Other Art Fairs
- Curate and select inventory and editions for the booth
- Pack and ship all inventory and supplies
- Install and deinstall the booth
- Sales at the booth

Fundraising Editions
- Develop production ideas with artist and Curator
- Manage production schedule
- Prepare press releases and information for new editions
- Keep editions budgets

Required skills:
- Strong computer skills and ability to use Filemaker Pro, Adobe Photoshop, Adobe Illustrator, Adobe Indesign
- Knowledge of HTML and experience with Wordpress preferred

Required attributes:
- Strong knowledge and passion for artist's books is imperative
- Retail and marketing experience
- A passion for non-profit arts organizations
- Ability to work both autonomously and as part of a small team
- Experience with creating budgets

Application Instructions / Public Contact Information --
Please send a resume and cover letter with the subject “Fairs&EditionsCoordinator_[your name]” to samantha@printedmatter.org. The deadline for applications is Friday, April 14 2017.

The relations between images and texts are one of the most important problems for the history of the arts, because they concern precisely their plurality and their significance. That is why they have captured the attention of artists, theorists and critics of art and literature since classical antiquity. For Western art, perhaps the simile of Horacio ut pictura poesis is the one that best expresses the relation between twin arts, giving rise to reflections that were crucial for the European culture and that led to the ideas of Lessing. But even after Lessing's effort to separate each art in different fields, the interrelation between words and images, graphics and figurations did not cease, neither in artistic production nor in iconographic, historiographic and semiotic studies. New studies of images have endorsed the interest to understand the passages, permeability and transit between words and images.

This is just one of the genealogies of this problem, which extends beyond the limits of linguistics, hermeneutics and semiotics. Under a conception developed in different semiotic perspectives, the interest in text, as a significant fabric, allows us to think of different dynamics for the analysis of images and languages. The decoding of the visual elements is not linear, for it is open to hesitations, regressions, choices and accidents, to a similar degree with respect to the writings. The supposed linearity of the written text is determined by the reading order and the syntax of the language it represents, but this is not to be understood either in a strict or unbreakable sense, since the graphic and permanent presence of signs allows the reader to return and reread the text if he wishes to.

In this way, intermediality — as has been called the collaboration between written texts, images and notations — supports the study of works of art, as well as many other forms of visual, textual and sound expression. Therefore, the Colloquium seeks to weave different genealogies and problematics of different disciplines around the articulations and interstices between images and texts (visual, verbal or sonorous, among others).

This edition of the Colloquium proposes to gather the discussion in the following panels, which can be reformulated according to the proposals received:

a) The debate on the boundaries between writing and image -- Disciplinary or interdisciplinary theoretical reflections and/or case studies: history of art, grammatology, historiography, semiotics, anthropology, linguistics, philology, aesthetics, iconography, tratadistics.

b) Writing itself as part of visual culture -- Beyond its strict value of reading, the graphemes of the writing systems are important components of design and visuality, that can be approached from formal points of view: calligraphy, typography, paleography. Writing and other systems of notation: storyboarding, musical, stage and/or dance notation, quipus, graphs, codes, etcetera.

c) Iconotext, ekphrasis and intermediation -- Theoretical reflections and/or case studies on collaboration and opposition between texts and images: titles and works, captions, texts within images, images within texts, illustration and activation; phylacteries, text bubbles, cartouches and highlights. Story and description.

4. Proposals will be evaluated by a Committee made up of members of the Instituto de Investigaciones Estéticas and other institutions, who will select them based on criteria of quality and thematic relevance.

Please send your proposal to the following address ---

Instituto de Investigaciones Estéticas, UNAM
Circuito Maestro Mario de la Cueva s/n
Zona Cultural, Ciudad Universitaria
Coyoacán, 04510, Ciudad de México
Phones (52 55) 5662 7250, (52 55) 5662 6999
E-mails: badisa1979@gmail.com

Throughout history, human cultures have used color to decorate their artifacts – amphorae and motor cars, textiles and smartphones – and technological processes have always been involved in obtaining and producing these colors, whether they are dyestuffs, pigments or paints. The 2017 Conference on the History of Technology will focus on Colors in Technology and Technology (or Technologies) of Colors, both in a European perspective and from a global-historical viewpoint.

The subject raises a host of different questions and aspects. How were such 'colors' manufactured? By whom and for whom? And how was trade organized? What is the social status associated with specific colors (dyes, pigments, and paints), with the painter's or dyer's trade and with other related trades? What are the gender-specific roles? Dyeing textiles and leather has long played an important role in society. Indigo and madder, to take but one example, have undergone societal and economic ups and downs depending on the particular constellation of requirements, resources, processes and markets. In early modern times, for instance, indigo production in India, along with the commercial network that grew up around it, spelt the end for the flourishing woad trade in Europe, but in turn it largely collapsed under the onslaught of the chemical synthesis of indigo in the 19th century. Is this pattern repeated elsewhere? How and when were hazards to health and the environment detected, and what was the impact on the manufacture and use of dyestuffs? The early modern age began to standardize colors, starting with 17th and 18th century color charts to the binding norms, say, of the RAL color chart – what was the background to this standardization in terms of natural history, trade and fashion? How were color standards designed and developed and how did they gain acceptance given the well-known difficulties of quantifying color?

When did people start coloring – painting and dyeing – technical artifacts? Which individuals – if any – were involved in the decision to do so? What viewpoints are important here, in terms of the societal situation and cultural emblems on the one hand and technical or economic possibilities and scientific results on the other? Where and how was color expertise developed? These and similar questions apply to colors used in architecture and on vehicles, colors used in signaling and on uniforms and clothing, and colors applied to machinery and objects of everyday use. How did the economic, social, and scientific dynamics develop that underlie the now ubiquitous use of colors to distinguish goods and trademarks with their distinctively gender-specific component? Lastly, how have colors been used – and how are they used today – in painting, in other figurative arts, and in the media, starting with medieval manuscript production to color printing, photography and film right up to modern-day display technologies?

The reconstruction and restoration of historical coloring is becoming increasingly important, be it in works of art, in architecture or on technical objects. In what circumstances are such issues of interest? What practices and techniques, what historiographical and natural science research findings are involved, and how do the results affect science and society in turn?

Proposals for papers on these and other color-related subjects are welcome.

The Network of American Periodical Studies, in collaboration with UCL Press journal Radical Americas, invites submissions for a special issue focusing on Radical American periodicals

In an early issue of New Left magazine Radical America, the editors outlined their aim to educate readers ‘about the radical traditions of this country’, to provide a ‘forum for students of American radicalism’, and to break down the barriers between the ‘activist’ and the ‘intellectual’. In doing so, Radical America refashioned a blueprint for American periodical radicalism that had been passed down by activists and editors for generations. As oppositional outlets for expressions of political, cultural, or social dissent, radical American periodicals have played a vital role as a forum for radical debate, and a challenge to mainstream understandings of American democracy, citizenship, and community. Yet what makes a periodical ‘radical’? And what makes it ‘American’? How has our understanding of these terms been shaped by the complex and constantly shifting nature of radical protest and the nation-state? And in what ways does this definition change depending on the editorial production, financial composition, geographic distribution or visual aesthetic of each ‘radical’ periodical?

This special issue seeks to address these questions through exploring the role and resonance of radical periodicals in America from the 18th to the 21st century. Bringing together scholars from a range of different disciplines and historical periods, we seek to interrogate how the concept of the ‘radical periodical’ in America has varied across time and place. We are not only interested in well-established oppositional periodicals, but also more transient forms of radical print - the hand-printed, mimeographed, photocopied, short-lived, minority, dissident, or extremist periodicals which have offered radical new perspectives on American culture, values and politics. We are also interested in papers which examine the connections between individual ideology and editorial intent, radical social movements and periodicals, the development and composition of radical audiences, and the challenges and opportunities of preserving radical periodical in the digital age.

Topics for papers may include:
· Dissident or banned periodicals.
· Communist,fascist or anarchist periodicals.
· Minority, feminist and queer radical publications.
· Reactionary radicalism, white nationalist and far-right periodicals.
· Radical American periodicals abroad and the circulation of radical foreign periodicals in America.
· The illustration, formatting and design of radical periodicals.
· The relationship between radical periodicals, organisations and networks.
· Radical periodicals, conservation and the archive.
· Radical zines and periodical radicalism in the digital age.

We welcome work in a number of different formats, including photo-essays, book reviews, interviews and archival notes. Articles for peer review should be between 4,000 and 12,000 words including footnotes. Book reviews should be no more than 1,000 words. Other pieces should be between 2,000 and 5,000 words. Please consult the UCL Press house style in advance of submission.

Initial proposals (max 4 pages) should be sent to Dr. Sue Currell (S.CURRELL@SUSSEX.AC.UK) and Dr. James West (E.J.WEST@BHAM.AC.UK) with ‘Radical Americas’ as the subject by May 1st 2017

Completed essays will need to be submitted to the editors, with permissions, by September 30th 2017