As part of the 73rd annual SECAC Conference "Microscopes and Megaphones," at Columbus College of Art & Design (CCAD), on October 25-28, 2017.

The historical roots of printmaking, its materials, processes and function inform the work of many contemporary artists working with print media. Even in an era when many of the mechanical operations of printmaking have been supplanted by digital processes, we see a new generation of artists embracing analogue methods as part of their creative processes. We also see ways that artists continue to be informed by history while working with new technologies. Historical approaches to print media may be reflected in the materials used, but also in the economies of production, from community printshops, collaborations to exchange economies. Additionally, the history of prints offer artists important themes and subjects, from the political to the social which continue to have relevance today. This session invites papers from artists, curators and critics interested in these issues.

Session Chair(s): Beauvais Lyons, The University of Tennessee, Knoxville
Contact: blyons@utk.edu

The Museum of Fine Arts, Boston, houses one of the richest and most extensive print and drawing collections in the world, containing almost 200,000 works ranging from printing in the 15th century to the present. From Dürer and Rembrandt to Goya and John Singer Sargent, the collection has many strengths, but it boasts unexpected areas of depth, such as a major gathering of rare books, extraordinary 20th century prints, and one of the world’s finest collections of postcards.

Reporting to the Chief of Curatorial Administration, the Chair of Prints and Drawings will be expected to lead, galvanize and inspire departmental curatorial staff. The charge will be to develop an engaging exhibition program, deepen relations with its donors and continue to build, preserve and share its collection.

The Chair will be deeply committed to exploring the changing nature of art museums and their relationship to the public, and will embrace and champion the Museum’s core values – namely that the experience of our visitor is paramount to our mission, strategies and achievements.

The Chair will lead in developing the artistic vision of the Prints and Drawings department, and the development of exhibition and collection projects that are based in the Museum’s Strategic Plan, and which deliver on its commitment to audience engagement. The Chair will work collaboratively with other curators and colleagues – within and outside of the MFA – to achieve departmental and institutional strategic goals.

Candidate Profile:

Minimum Qualifications and Experience:

• Advanced degree in Art History or extensive equivalent related experience in art exhibition and program planning and production.

• In-depth experience in Prints and Drawings, including a portfolio of exhibitions and publications that have advanced scholarship and connected with visitors in engaging ways.

• Extensive senior management level museum experience in exhibitions, installations, publications, and collection building.

• Broad curatorial experience gained in museums that have sought and achieved imaginative ways of engaging with their visitors and which have met targeted results.

Ideal Candidate Profile:

• An experienced leader of people, ideas and institutional mission, with a dynamic communication style to engage staff, donors and the public.

• Demonstrable ability to manage, mentor and retain talent, and disciplined in managing curatorial staff to reach for excellence in ideas, project execution and goal achievement.

• An international perspective but experienced in becoming personally and professionally committed to an institution’s city, people and artistic community.

• Committed to collaboration with others to achieve the best outcome, and is an excellent and timely decision maker to move plans and objectives forward.

• Strong sense of accountability for achieving stated objectives and demonstrable experience doing so.

• Superior ability to present and defend ideas and projects that earn the respect of other senior leaders and builds credibility for the work of the Department and institution.

• Evident experience/ability to partner with the Director/CEO and a range of colleagues to develop the artistic vision of the Prints and Drawings program, conceptualize and realize exhibition projects, position the institution externally and realize support and works of art from donors.

• Evident experience working successfully with senior leaders of an organization to achieve, both their own and their peers’ objectives, including visitor experience, marketing, education and digital initiatives.

• Committed to supporting and contributing to the success of an institution’s business and financial imperatives.

• Committed to the training and professional development of staff to ensure up-to-date practices.

Personal Qualities and Attributes:

• Intellectual rigor

• Inspirational, passionate, curious

• Generosity of spirit, a team player

• Superior judgment, tact and diplomacy

Few texts have combined word and image in a more striking or influential manner than Alfred Barr’s timeline of modern art. The chart first appeared on the front cover of the 1936 exhibition catalogue Cubism and Abstract Art at the Museum of Modern Art, New York; through Barr’s direction, MOMA helped to establish the narrative for artistic modernism in the 1930s. This picture has since become one of the most widely-reproduced images of modern art in the western world, one which continues to shape our understanding of modernist art history today.

For its second conference, organised in conjunction with Aberystwyth University’s David Jones Centre for Word and Image, the National Library of Wales and the Aberystwyth School of Art, Modernist Network Cymru (MONC) aims to interrogate the symbiotic relationship between the visual arts and the written word, as encapsulated in Barr’s iconic image. How did modernist artists respond to literary texts? How did writers incorporate visual elements in poetry and prose? How did author and artist collaborations arise? And how did modernist texts, from collages to magazines to scrapbooks, combine word and image in radical new ways?

In Wales, figures such as David Jones, Brenda Chamberlain and Margiad Evans worked across art and literature, whether in poetry and painting or short stories and illustration. Texts such as Chamberlain and Alun Lewis’s Caseg Broadsheets juxtaposed modern poetry with experimental woodcuts; more recently, the photographer Aled Rhys Hughes and the Welsh National Opera have both produced multimedia responses to Jones’s prose poem In Parenthesis.

Over the course of two days, we aim to explore the multitudinous connections between word and image in a range of modernist texts from Wales and beyond. We invite interdisciplinary responses to any aspect of word and image in modernism, but we particularly welcome scholars working on Welsh modernist writers and artists, as well as modernist art and writing in Wales. The full story of the visual arts in Wales is only just beginning to unfold; this conference provides an opportunity to discuss future directions for research into this developing field. What should a Welsh modernist art history be, and what relationship should it have to its sister arts, especially literature?

Although we are a Welsh Network, we have an international outlook. We are interested in Welsh art and literature’s international connections, as well as how place, language and history affected experiments in word and image elsewhere, especially in other ‘small nations’.

With these histories in mind, we invite proposals on topics including but not confined to:
Literary responses to art
Artistic responses to literature
Artist-writers (and vice versa)
Radical combinations of word and image
Cross-media projects, e.g. magazines, posters, graphic novels
Book design / illustration / illustrated books
Similarities and differences between visual and verbal forms of art
Visual, film or literary adaptations
Interdisciplinary collaborations
Images and titles / captions
Film and/or intertitles
Architectural interventions
Colour in literary and visual forms
Photography and photographers’ books / travel guides
Contemporary inter-/multi-disciplinary responses to modernism
Opportunities and challenges of a visual arts practice-based PhD.
The National Library of Wales and the School of Art welcome researchers who wish to explore their extensive archives, with the aim of presenting a conference paper based on their research.

Proposals for papers (20 minutes) should include a summary of the proposed paper (300 words), the speaker’s contact details, and a short bio (100 words). Papers can be delivered in English or Welsh with simultaneous translation; please indicate the language in which you wish to deliver your paper. If you wish to submit your abstract and biography to us in Welsh please also send a copy in English.

Send proposals to modernistnetworkcymru@gmail.com

Eligibility

Only current legal US residents may apply (Social Security Number is a must!)
Students enrolled in any kind of degree program at the time of the residency are not eligible
Keyholder Residencies are limited to emerging artists only. The Printshop defines emerging artists as under-recognized and under-represented artists at early stages in their careers
Artists without access to a studio space are encouraged to apply
Past recipients of the Keyholder Residency are not eligible
Artist duos or teams are not eligible; residencies are awarded per artist
Artist must reside in the New York metro area during the year of residency

Application Requirements

Up to 8 digital images of recent (past 2 years) work *
Image list: your name, work title, year, medium, and dimensions
Application form
Artistic resume
Names and contact information for two references

* Images should be JPEG format, longest dimension maximum 1,000 pixels, RGB color mode. Title each image as “Last Name_First Name_#” (ex. Smith_Pat_01.jpg). The panel will only consider still images, no video. Images will be projected from a Mac computer.

Materials must be submitted by 6PM EST on the deadline date, no exceptions. Incomplete applications will not be considered.

No phone and/or email inquiries about the status of your application, please. All applicants will be notified of the panel’s decision by email before the residency start date.

The Printshop does not provide housing assistance.

The Brooklyn Museum seeks to hire an Assistant Curator, Prints and Drawings to oversee the Museum’s collection of works on paper (including prints, pastels, drawings, and watercolors). Reporting to the Senior Curator of European Painting and Sculpture, and working in collaboration with area curators, she/he will focus primarily on the European and American collection, and will also advise on Contemporary and non-Western works on paper. She/he will organize exhibitions drawn from the collection and will have the opportunity to work on loan shows, particularly in partnership with peer institutions. Other duties include but are not limited to: cultivating donors; overseeing the storage, maintenance, and care of the collection; hosting outside scholars and coordinating study room visits; supervising loans; new acquisitions; and maintaining research files and records for objects in the collection.

Responsibilities: The role and responsibilities of the Assistant Curator, Prints and Drawings, include, but are not limited to:


Overseeing our works on paper collection, including researching, developing, and installing the collection

Responsible for recommendations regarding works on paper acquisitions, deaccessions, and loan recommendations

Maintaining and updating collection records for works on paper

Caring for collection objects in collaboration with conservation staff

Responding to inquiries from scholars and the general public

Collaborating with Museum educators and public programming curators to develop programs and materials, and to train museum guides

Cultivating possible donors and serving as an active champion for the works on paper collection

Reports to: Senior Curator of European Painting and Sculpture
Starting date: February 2017
Schedule: Full time

The successful candidate for this position must have:


An advanced degree in the history of art with a demonstrated expertise in works on paper
A minimum of two to three years of curatorial experience
A deep commitment to engaging a wide public audience in innovative and exciting ways, as well as to research and scholarship in the field
Excellent written and verbal communication skills
Proficiency with word processing programs and databases
Strong interpersonal skills and attention to detail

Provide high quality support for the Grunwald Center for the Graphic Arts' collections, exhibitions, and curatorial projects. Assist with the daily management and oversight of the Grunwald Center collection of works on paper as well as the Armand Hammer Permanent Collection, the Armand Hammer Daumier and Contemporaries Collection, and the Murphy Sculpture Garden.

Conducts research on the collection and responds to research requests; organizes and oversees class visits to the study center; assists with reinstallations of the permanent collection galleries; and assists on exhibitions organized by the Grunwald Center Director and Senior Curator. The Curatorial Associate/Assistant also assists with online collection projects as needed, and supports an annual fall seminar using works from the collection for advanced UCLA undergraduate students.

Develop, research, plan, and oversee complex exhibitions, collections projects, programs and events under the direction of lead curators. Carefully and thoughtfully organize all aspects of exhibitions and projects including initiations, approvals, budgets, contracts, correspondence, travel/hospitality, logistics/technical requirements, communications, visitor experience, artist relationships, documentation, and other details as appropriate.

Initial four year appointment; with potential for renewal.

Application: visit UCLA Career Opportunities and search the campus job openings for Requisition #25303. Please submit online application as instructed. Due to the volume of resumes that we receive, we are regretfully unable to respond to phone calls and emails regarding the status of applications and the recruiting process.

A symposium to be held at the Cape Ann Museum in Gloucester,
Massachusetts, on Saturday, October 28, 2017.

Submission deadline: April 1, 2017

Organized in conjunction with the Cape Ann Museum’s special exhibition
"Drawn from Nature & on Stone: The Lithographs of Fitz Henry Lane,"
this conference will explore the print world in America during the
first half of the 19th century and the importance of printmaking to the
growing nation.

This symposium seeks papers that present original research on
nineteenth-century American prints. We encourage new voices and
perspectives and seek submissions from a wide range of disciplines
including art, social and cultural history, communications, music and
maritime history. Possible topics might include the work of Fitz Henry
Lane’s print making contemporaries, specific collections of prints, the
relationships between artists and printmakers in Boston and elsewhere,
influences on Lane’s style, the publication and reception of prints,
the intersection of commercial and art worlds, the role of prints in
the home, abolition, industrialization, advertising, global circulation
and exchange and the gendering of prints.

Scholars, independent researchers, artists and graduate students from
diverse fields including American art history, American studies and
material culture that engage critically with these potential topics are
urged to submit proposal papers. Papers may be on any aspect of
American print culture during the first half of the 19th century and
should be able to be presented in 20 minutes. Selected papers will be
published by the Cape Ann Museum approximately 18 months after the
symposium.

Submission instructions: Please send in one email an abstract (one page) of your proposed
contribution and a short CV (two pages) to marthaoaks@capeannmuseum.org
by April 1, 2017.

CAPE ANN MUSEUM, 27 Pleasant Street, Gloucester, MA 01930
(978) 283-0455, www.capeannmuseum.org

The Bodleian Libraries announce a Summer School in the History of Printed Book
Illustration.

The week-long course is led by Dr Elizabeth Savage (School of Advanced Study,
University of London) and will include daily lectures and seminar sessions in
the Weston Library, with close examination of illustrations in Bodleian
Library books from the incunable period to the 19th century. Afternoon
workshop sessions in the Bodleian's Bibliographical Press will introduce the
methods and equipment used by artists and printers. The methods seminars are
led by Richard Lawrence. Students will also have the opportunity to consult
Bodleian rare books on their own in the library reading rooms.

Themes of the course:
Early illustrated books; methods of printing; the description of illustrations
in modern catalogues; early illustrated books in the West; methods of
printing; the role of colour; scientific and medical imagery; maps; children's
books; broadsides; ornament; devotional images; workshop and trade structures;
the influence of book illustrations on art and architecture; illustrations as
propaganda; and art historical, book historical and literary approaches to
book illustration.

Guest speakers/demonstrators: Roger Gaskell on scientific books; Peter
Lawrence, wood engraver; and others to be confirmed.

The Summer School will meet 26 June - 30 June 2017

Applications should include the form (downloadable from the course
webpage), a cv, and a short one-page
statement of your reasons for joining the course.

Please visit the course webpage
before making an application.

For further information contact:
bookcentre@bodleian.ox.ac.uk
Information and application documents:
http://www.bodleian.ox.ac.uk/csb/courses

The Stuart A. Rose Manuscript, Archives, and Rare Book Library at Emory
University in Atlanta, Georgia, is accepting applications for funding to
travel to the Library and utilize its holdings. We offer awards and
fellowships in five main collecting areas: English-language literature,
poetry, African American history and culture, Southern history and culture,
and modern politics, as well as subject specific funding.

Of particular note is the recently established Award for Research in Black
Print Culture. Funded by Rose Library curator Randall K. Burkett and his wife,
Nancy, the award supports researchers exploring the Rose Library's holdings of
rare manuscript, ephemeral, photographic, and print materials produced by and
for African Americans. The award is designed to encourage research and writing
on the history and significance of black printing, authorship, and publishing.
Stipend up to $1,000 annually.