You may have get the invitation from 6th Guanaln International Print Biennial 2017, Please pass this message to anyone who may be interested in the biennial. (Each artist can submit one or two print works) .

1. Deadline. works can arrive before Feb. 15, but artists should register on line and submit participant form before Jan, 30. 2017.
2. Main Exhibition site: China Printmaking Museum, Shenzhen, China.

3. We don’t ask for any participation fee.



4. There will be 15 prize winners in 2017 and each one will get 30,000 CNY as prize money, a certificate and a crystal cup. Awarded artists will be invited to China to accept the prizes. We will pay for the flights and hotels.

5. We will send high-quality catalogues and certificates to selected artists. There will be great promotion for prized works and selected works, as well as short-listed works,
Other Differences

1. We will give respect to all works this time and make more publicity activities, all participants who have send works will be benefit by the publicity.

2.you can check works arrived or not. www.guanlanprints.com/b

3.We will select more works and make more exhibitions this time. There will be more works show in China Printmaking Museum.

4. The contact will be more easy and fast. All there are more contact means such as Facebook, Twitter, Wechat English version put to use.

5. Other wonderful surprises.

Attention:
Every participant should apply on line for take part in the biennial in 2017 on www.guanlanprints.com/b . If you have tried many times and this page doesn’t work, please tell us by sending email to gbiennial@126.com and send us orginal works directly first, and register later.

EXHIBITION CALL

Reader’s Art: Control/Alt/Shift

ENTRIES DUE April 7, 2017

Minnesota Center for Book Arts (MCBA) seeks art for inclusion in Reader’s Art: Control/Alt/Shift — a juried exhibition of artists' books that explore one or more of three related themes: the politics of control; alternative methods of public discourse; and the ever-shifting nature of social norms and values. This exhibition continues the tradition of the “Reader’s Art” exhibitions organized for many years by the Susan Hensel Gallery in Minneapolis, MN. At the Susan Hensel Gallery “Reader’s Art” explored the broad theme of narrative in the arts. As the new home of these popular shows, MCBA is dedicated to continuing Hensel's tradition of supporting new voices, emerging artists and students. The exhibition will be presented June 9 through August 13, 2017 with a reception on Friday, July 21, 2017.

Readers Art: Control/Alt/Shift will be on view during MCBA's Book Art Biennial, and will be incorporated as a visual resource to inform discussion during the event's symposium on July 22-23, 2017. For more information regarding the Book Art Biennial, visit bookartbiennial.org.

All media and formats are welcome. There is no entry or participation fee. Selected artists will be responsible for all shipping costs. While on view, all work will be fully insured and presented in secure cases.

To be considered, email the following to readersart@mnbookarts.org by April 7, 2017:

1. No more than two digital images per work. Images should be attached as low resolution JPEGs. Multiple entries are allowed but each entry should be sent as a separate email.

2. In the body of the email, provide the following information:

Artist name(s)
Mailing address (no postal boxes)
Email address
Telephone number
Title of work
Dimensions
Year of completion
Medium/Materials
Insurance value
Special installation instructions (if applicable)
Other descriptive information you feel is necessary

3. Place “ENTRY” in the subject line of your email. Entries must be received by April 7, 2017.

Work will be juried by Susan Hensel (artist and curator) and Jeff Rathermel (MCBA's Executive Director). Selected artists will be notified by April 14, 2017. Selected artists' works must be received/delivered to MCBA no later than May 19, 2017. Work will be returned by September 8, 2017. More specific shipping information will be provided to selected artists.

Questions regarding this exhibition may be sent to readersart@mnbookarts.org; please place “QUESTION” in the subject line.

Minnesota Center for Book Arts, Minneapolis, MN

As the largest and most comprehensive center of its kind in the nation, Minnesota Center for Book Arts celebrates the book as a vibrant contemporary art form that takes many shapes. From the traditional crafts of papermaking, letterpress printing and bookbinding to non-traditional artmaking and self-publishing techniques, MCBA supports the limitless creative evolution of book arts. To learn more, visit our website at http://www.mnbookarts.org.

The Association of Print Scholars invites applications from graduate students and early-career scholars to participate in the upcoming “Objects of Study: Paper, Ink, and the Material Turn” symposium, to be held in Philadelphia from March 30th to April 1st, 2017. APS will provide funding to offset travel and lodging costs so that a scholar can participate in the symposium’s three closed workshop sessions, which will be interspersed with public panels. Workshops will feature hands-on demonstrations of papermaking processes, close study of works in the collection of the Philadelphia Museum of Art, and technical sessions in the PMA’s paper conservation lab. We invite applications from scholars of works on paper, broadly defined and from any temporal or regional focus, whose work engages or challenges issues of materiality. Emerging scholars who are currently enrolled in a Ph.D. program, or who received their Ph.D. within the last five years, are welcome to apply.

Please send a short statement of interest (300 words maximum) that details how and why participating in the symposium and its workshop sessions will contribute to your current work, along with a CV to info@printscholars.org by January 31. Please contact info@printscholars.org with any questions about applying.

About the Symposium
For more information and to register, please visit http://www.objectsofstudy.com/.

To begin addressing the symposium’s driving questions, participants will present “materialist” case studies of 20 minutes in length, and then to devote at least 5 additional minutes to explicitly addressing how “materiality” operates in their work. What are the analytic goals of a materially focused account? Where and how does such an inquiry begin? And, finally, how do those aims and methods relate to the field’s broader material turn? Talks may engage these questions in relationship to works on paper across time, and from any geographic origin.

Confirmed speakers include:
· Nancy Ash, Philadelphia Museum of Art
· Cathleen A. Baker, University of Michigan Library
· Julie Nelson Davis, University of Pennsylvania
· Michael Gaudio, University of Minnesota
· Barbara Heritage, Rare Book School at the University of Virginia
· Daniel Heyman, Pennsylvania Academy of the Fine Arts
· Christopher Heuer, the Clark Institute of Art
· Shelley Langdale, Philadelphia Museum of Art
· Barbara Mundy, Fordham University
· Jennifer Roberts, Harvard University
· Elizabeth Savage, Institute for Advanced Studies, University of London
· Madeleine Viljoen, New York Public Library

Please contact Juliet Sperling at julietsp@sas.upenn.edu with any questions about the symposium.

The next annual conference of the AEPM will take place 11-13 May 2017 and is being hosted by The Museum of Typography, Chania, Crete (Greece).

The theme of the conference is: "Making history:collections, collectors and the cultural role of printing museums." The conference will look at the ways in which collections of printing heritage materials become museums. Possible subjects for discussion include:

who collects printing heritage materials?
how is printing heritage transmitted from one generation to the next?
what motivates founders of printing museums?
how do collections become museums?
how are collections made available to the public?
what forms do independent printing museums take – associations, foundations, privately-owned companies?
what challenges do independent collections and printing museums have to face?

The list of themes is, of course, neither exhaustive nor exclusive.

Submissions
Proposals for talks are invited from museums of printing and graphic communication, and from heritage workshops, collectors and scholars involved in printing heritage.

Abstracts of no longer than 250 words should be submitted along with a brief biography to:
chair@aepm.eu and info@typography-museum.gr
by 30 January 2017.

Speakers will be allocated 30 minutes (including discussion) in which to present their papers.

A session will also be reserved for news from AEPM members.

Please note that the AEPM is unfortunately not able to remunerate speakers, who also have to cover their own travel and other costs.

Aspects of Greek printing heritage
The conference will also offer an opportunity to discover some aspects of Greek printing heritage with the help of several invited speakers:

Yiannis Filis, former dean of the Technical University of Crete (Greece)
Gerry Leonidas, associate professor of typography at the Department of typography and graphic communication, vice-president of ATypI (United Kingdom)
Klimis Mastoridis, professor of typography & graphic communication, University of Nicosia, Cyprus
George D. Matthiopoulos, lecturer in the Department of graphic design at the School of art and design of the Technological Educational Institute of Athens (Greece)
Konstantinos Staikos, architect, book historian and researcher (Greece)

Sharpe-Walentas Studio Program residents are selected annually based on merit from a competitive pool of applicants by a professional jury.


The Sharpe-Walentas studios are located amidst a thriving waterfront community full of art galleries, creative professionals, and independent retailers. Studios have freight and passenger elevator access, high ceilings and natural light. Communal spaces include a kitchen, slop sinks, restrooms and a sitting area with wi-fi. Studio access is 24 hours/7 days week.


Program FAQ


Who is eligible?
The program is open to professional visual artists, 21 years or older with legal US permanent resident status, US citizenship, or a visa that allows them to live and work in the United States. Applicants may not be enrolled in any degree program, participate in any other residency program, or maintain a separate studio during their residency.


Do you have to be from New York?
The studio program is open to eligible artists nationwide.


Do you provide housing?
Artists are responsible for their own housing.


Are there any limitations to materials or media?
Work that involves high levels of noise, heavy machinery, toxic fumes, or fire risk are not permitted in the studios.


How do I apply?
Applications are available at Slideroom from January 1, 2017 to February 15, 2017 at 11:59 PM. Artists must submit 5 clear images of their most recent work and a statement describing their need for a studio space. Artists working in video may submit a combination of up to 5 videos and stills. The jury will not accept any supplemental materials or submissions by mail.


Is there a financial award or stipend with the studio?
The Studio Program does not offer financial assistance, stipends, or materials.

Can I share my studio with my spouse/partner?
No. The studios are intended for the artists awarded and selected by the jury.

What are my responsibilities as a Studio Artist?
Spend at least 20 hours per week in the studio.
Help plan spring open studios event.
Maintain all communal spaces.
Submit reports of studio work at 6 months and 12 months.

http://thestudioprogram.com/apply/

2017 NYSCA/NYFA ARTIST FELLOWSHIP CATEGORIES

Crafts/Sculpture
Printmaking/Drawing/Book Arts
Nonfiction Literature
Poetry
Digital/Electronic Arts
(Includes the Joanne Chen Fellowship awarded annually to a Taiwanese American artist resident in New York. The winner of this award will receive an unrestricted grant of $7,000.)

Deadline: Wednesday, January 25, 2017 at 11:59 PM (EST)

NYFA is committed to supporting artists from diverse cultural backgrounds at all stages of their professional careers. In 2016, NYFA awarded 92 grants to 98 awardees with 5 collaborations totaling an amount of $647,000.

NYSCA/NYFA Artist Fellowships, awarded in fifteen different disciplines over a three-year period, are $7,000 cash awards made to individual originating artists living and working in the state of New York for unrestricted use. These fellowships are not project grants but are intended to fund an artist’s vision or voice, regardless of the level of his or her artistic development.

NYFA is pleased to announce that the name of this award has changed to NYSCA/NYFA Artist Fellowship. NYSCA/NYFA Artist Fellowships are administered with leadership support from New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature.

Well known by visual artists as the "Gift of Time", the Roswell Artist-in-Residence Program was established in 1967 to provide gifted studio based visual artists with the unique opportunity to concentrate on their work in a supportive, collegial environment for a whole year. This "gift of time" allows artists to work without distraction in an effort to break new ground and focus on individual goals.

The Roswell Artist-in-Residence Program serves as a contemporary counterpoint to the traditional arts of the Southwest, reinforces the Program's interest in strengthening the vitality of visual art in New Mexico and has been a catalyst in broadening community understanding of contemporary art.

SUPPORT

In residence grants are offered to all professional visual artists 21 years of age or older, involved in painting, drawing, sculpture, printmaking, photography, installation and other fine art media. Grants are not made in the disciplines of performance art or production crafts.

HOUSING ACCOMMODATIONS and STUDIO FACILITIES

The studios are large, open spaces that measure approximately 30 'x 25 'x 10'. These areas are well-lighted and convertible to the artist's requirements. Artists are housed in a complex of six houses and 10 studios located on fifty acres of land. Each artist is provided with a house that can amply accommodate either a single person or a family. Rent, utilities (except telephone), repairs and maintenance costs are borne by the Program. Houses are furnished with major furniture items, appliances and utensils within reason. The printmaking facility is a small, fully operational studio - basically lithographic/etching in nature.

STIPEND

A stipend, or living allowance, of $800 per month is offered along with $100 for a spouse/partner and $200 per child living with the grantee. The additional stipend for children is sponsored in part by a grant from the Sustainable Arts Foundation.
A generous materials stipend is also available through a grant by the Frederick Hammersley Foundation.

The Philadelphia Museum of Art announces a two-year (first year renewable) Curatorial Fellowship in Prints, Drawings, and Photographs beginning on July 1, 2017. The fellowship provides firsthand experience with curatorial work in the graphic arts. A Master’s degree in art history or related field is required; candidates should have demonstrated a commitment to scholarship in art history and an ability to work collaboratively. Fellows participate in all activities of a large, active curatorial department with a collection of more than 150,000 works of art on paper, located in new, state-of-the art facilities: exhibition and loan preparation; object research and cataloguing; study room supervision; and daily administrative tasks. Fellows have the opportunity to organize an exhibition from the permanent collection during second year of the fellowship. Position includes travel stipend and benefits. No telephone calls please. EOE.

To apply, please attach a letter of application stating goals, a resume, and the names and contact information of three references to submit with your application.

CCA invites applications for a full-time, tenure-track Assistant Professor in the Printmaking Program to begin August 2017. Successful candidates will demonstrate a strong commitment to teaching, a theoretical and historical understanding of the field, and a professional practice in the visual arts with expertise in one or more areas of print media: intaglio, lithography, relief, screen printing, monotype, book arts, and digital and photo-print processes. The successful candidate should demonstrate robust professional activity with increasing stature at a national and international level. We seek to hire dynamic individuals who are deeply engaged with the fundamentals of printmaking, articulate and critical in the classroom, and passionate about print as a form of visual expression and social engagement. Candidates should be well versed in contemporary art practices, multidisciplinary approaches, and emerging technologies in the expanded field of printmaking.

The ideal candidate will further the discourse of printmaking in broad aesthetic, conceptual and educational contexts. The candidate should be able to help students develop a sound conceptual practice and deepen their technical skills. The successful candidate will be proficient in digital processes and output and help forward the role of technology in the program. This position will be expected to teach across all levels of the undergraduate curriculum in some combination of beginning, intermediate and advanced level printmaking courses as well as the Graduate Program in Fine Arts. An interest and ability to teach successfully in the college's First Year Program and other interdisciplinary courses is necessary. In addition, responsibilities include program and college-wide service and leadership, participating in curriculum design, admissions and recruiting, and committee membership.

The Department of Fine Art at Marymount University is seeking a tenure-track assistant
professor in Printmaking and Painting to begin teaching Fall 2017. Terminal degree (MFA or PhD) in Printmaking, Painting, or a related field is required.

The successful candidate should be able to teach beginning and advanced courses in printmaking and painting, supervise undergraduate senior projects and theses, and help supervise foundation courses in color theory. Preference will be given to those candidates who can teach additional studio art classes, and especially to those who are interested in helping to develop a Printmaking program, and who can maintain a Printmaking studio.

Tenure-track faculty currently maintain a 3/3 teaching load with additional responsibilities in student advising and committee service.

Candidates should submit the following: a cover letter of application, a current CV, a statement of teaching philosophy, a digital portfolio of 20 personal works and 20 student works, and names of 3 professional references.