The 11-month internship provides institutional training to students with a demonstrated interest in a museum career. The John Wilmerding Intern works on a project directed by a Gallery curator. Weekly museum seminars introduce the intern to the broad spectrum of museum work, and to Gallery staff, departments, programs, and functions.

The John Wilmerding Internship in American Art is made possible by a generous grant from The Walton Family Foundation.

Applicants may list up to two projects, in order of preference, on the application -- TWO of three projects listed below include works on paper/print opportunities:

(1) Curatorial: American and British Paintings
The intern will assist with planning and research for an upcoming exhibition devoted to the focus exhibition Whistler: The Symphonies in White. Consisting of approximately thirty paintings, drawings, and prints, the show will take as its primary subject one of the most influential works of the 19th century: James McNeill Whistler’s Symphony in White, No. 1: The White Girl.

(2) Curatorial: Modern Prints and Drawings
The American art intern will assist with planning and developing requirements for an in-depth web resource/catalog of the 18,000 watercolor renderings that comprise the Index of American Design (IAD), a collection created between 1935 and 1942 as part of the Federal Art Project of the Works Progress Administration.

Conference for Ph.D. students, postgraduates and researchers at museums and universities in the Kupferstich-Kabinett (Museum of Prints, Drawings and Photographs) of the Staatliche Kunstsammlungen Dresden (Dresden State Art Collections) in colaboration with the TU Dresden Institute of Art and Music, Dresden, 18-19 September 2017.

Are paintings reproduced because they are famous, or have they become famous because they have been reproduced over and over again in the past centuries? The aim of this conference is to throw light on the status of reproductive prints in the process of the formation of (an) artistic canon(s). It aims at exploring artistic and technical aspects of the creative and innovative making process, including the printmakers’ ability to translate the original work into a new pictorial language and to the history of both reception and transmission of works of art.

The conference will cover the period running from the early 16th century to the introduction of the first lithographic press in the early 19th century. Geographically, the focus is on Europe. No restrictions are imposed concerning printing techniques – on the contrary, the characteristics of each technique as well as its ability and uses for reproducing original paintings constitute an important topic.

We invite submissions of papers drawing from current research on specific prints or series of prints as well as on new theoretical approaches and methodologically promising developments in the study of interpretative prints, also exploring their potential as a source and as a subject matter of art history.

In particular we welcome submissions in (but not limited to) the following areas:

- Yet again: The original and its graphic interpretation(s): How are collaboration and competition amongst the printmakers themselves, and between the engravers and the painters represented in the prints? To what extent did the engravers take liberties with the paintings’ details? Did printmakers even perhaps hide critical or satirical messages in their interpretations?
- Questions of style: How is the painterly style of the original expressed in the graphic medium? What is the relationship between the printmaker’s technique and the pictorial style or the genre of the original? Is there experimental ground for innovations in new printmaking techniques? What role do special printmaking techniques - e.g. outline etching, aquatint or colour(ed) print – play in the processes of translation and interpretation?
- Reception: How were differences in style and in composition between the original and its reproduction perceived by the contemporary viewer? Is it possible to identify links between prints and theoretical writings on certain paintings or painting in general? Which influence do captions have in the process of reception?
- Reproductive prints as a source for new approaches in scholarship: What potential do reproductive prints have as a source for the study of canon formation and for (art) historical network research? How can the pictorial and textual information contained in those prints be gathered, and how can this be made accessible for practical use?

An important objective of the conference is to encourage networking between academic researchers and museum professionals. Proposals by both doctoral candidates in art history and aesthetics as well as students aiming at a Ph.D. in the field of the graphic arts are welcome. We also invite applications from curators and postgraduate researchers at museums and other research institutions and we are pleased to receive papers from colleagues working in media studies, philosophy and history.

Please submit your proposal in the form of a 400-word abstract and a short CV and send it in English or German as a PDF file to: beyond-reproduction-2017@gmx.de by 15 February 2017.

Appointment Type: Faculty
Department: Department of Art and Art History, School of Art and Design
Anticipated Start Date: August 21, 2017
Term: Full-time, Tenure-Track, Entry-Level Teaching Position

ABOUT THE SCHOOL OF ART & DESIGN
The School of Art & Design has over 60 faculty / staff and over 1,000 students. There are six distinct BFA programs (Graphic Design and Interactive Media, Entertainment Design, Game Design, Industrial Design, Interior Design, and Studio Art) and an MFA program in Design. For more information, please visit: http://www.uwstout.edu/artdes/ and https://www.uwstout.edu/programs/mfad
QUALIFICATIONS:
Minimum/Required
- M.F.A. with printmaking emphasis
- Active professional studio practice
- Evidence of teaching potential

Preferred/Desired
- Strong conceptual and technical background in printmaking
- Two years full-time teaching experience in printmaking beyond graduate assistantship
- Proficiency in digital imaging/print-related technologies
RESPONSIBILITIES:
Teach studio courses each semester, following NASAD guidelines, in multiple levels of printmaking that may include silkscreen, intaglio, lithography, and relief printing or foundations courses such as drawing, 2D design and 3D design that support art and design majors and the MFA in Design. Contribute to a growing, dynamic and rigorous learning atmosphere with willingness to use traditional, alternative and digital delivery methods including participation in a laptop environment; commitment to undergraduate teaching is necessary. Provide academic advisement to students and assessment of student learning. Develop/maintain curriculum and provide service to the department, school, college, and university. Maintain a healthy and safe classroom and printmaking lab environment. Produce and disseminate professional research/creative activity related to discipline on a local, national, and international level. Pursue grants or other external funding and support for research. Perform other duties as designated by chair.

Application materials should present: 1) strong evidence of teaching experience or teaching potential and 2) evidence of comprehension of broad historic and contemporary methodology, process, and practice as they relate to contemporary printmaking. The preferred candidate should also demonstrate: 1) a sensitivity to design aesthetics and critical thinking as well as the ability to articulate issues of form and content; 2) creative and artistic excellence through an active exhibition record; 3) professional practice including participation in professional organizations, grant writing and other creative business practices.

The Whitney Museum seeks a curator with an extraordinary record of exhibitions and publications to fill a newly created position overseeing the Museum’s distinguished collection of drawings and prints. The incumbent will report directly to the Nancy and Steve Crown Family Chief Curator and join the museum’s highly collaborative senior curatorial team at a time of great institutional growth and transformation. This position requires strong expertise in 20th- and 21st-century American art; a specialty in early to mid-twentieth century art is preferred but not required.
Responsibilities:

· Oversee the growth of the Whitney’s drawing and print holdings through gifts and purchases by acquisition committees.
· Help to define the Museum’s collection strategy and display methodology in consultation with the Chief Curator and Director of the Collection.
· Collaboratively shape the scholarly program and research functions of the Museum’s recently inaugurated Sondra Gilman Study Center for works on paper.
· Propose and organize collection displays and loan exhibitions (in any medium), including the writing and preparation of related scholarly catalogues, brochures, and didactic texts; development of educational programs; and fundraising.
· Cultivate external relationships with artists; trustees and various patron groups; members of the press; and colleagues at other institutions.
· Work closely with other curatorial staff and departments in the museum, in particular Conservation, Education, Exhibitions and Collections Management, Publications, Advancement, and Research Resources.
· Approve loans; work with artists, scholars, and other interested parties to access the collection; undertake special research projects for the collection and acquisitions as needed; represent the Museum within the scholarly community through participation in panels, symposia, and other forums; supervise administrative matters related to these activities.

Requirements:

· M.A. in art history; Ph.D. preferred
· 10+ years of experience, including a distinguished record of exhibitions, publications, and acquisitions in the field.

Please send resume, cover letter and salary requirements to: hr@whitney.org and state “Curator” in the subject line.

Williams College Museum of Art

The Williams College Museum of Art (WCMA), one of the leading college art museums in the country, is seeking applicants for a highly creative Associate Curator of Works on Paper with expertise in the early modern period. The successful candidate will activate the museum's broad collection, emphasize transnational and cross-cultural exchange, and possess a deep interest in interdisciplinary scholarship and teaching.

Reporting to the Deputy Director for Curatorial Affairs, the Associate Curator is a critical member of an ambitious and collaborative curatorial and public engagement team. The Associate Curator produces adventurous exhibitions and publications providing direction for the works on paper holdings; currently numbering over 7,000 artworks including photography, and creates programs centered on works on paper, often in collaboration with faculty and students.

WCMA makes dynamic art experiences to incite new thinking about art, museums, and the world. The museum is a vibrant center for the arts at Williams that embodies the potential for the liberal arts to catalyze our ability to think creatively and critically. It is a vital hub for deep student learning and participation; for taking risks and testing creative, future forms of scholarship and teaching; and for boldly affirming the relevance of the history of art and the arts broadly.

Primary Responsibilities:

Plan and conceptualize exhibitions, and other projects, examining interdisciplinary and diverse themes and historical periods, based on original research

Write and edit scholarly materials that appeal to the broad range of museum visitors

Identify acquisition and conservation priorities

Collaborate with development colleagues on fundraising and grant writing

Actively cultivate relationships with foundations, existing and potential donors, collectors, and others

Work collaboratively and creatively with colleagues in public and academic engagement to develop interpretive materials and programs, and to make exhibitions relevant to Williams coursework and diverse audiences

Present talks, lectures and regularly teach/co-teach museum-based courses

Supervise undergraduate and graduate interns


Qualifications:

Master's degree in Art or Art History or related disciplines required, Ph.D. preferred

Broad intellectual and curatorial interests and a deep commitment to students and the public

A record of successful experience in the conception and development of creative and innovative exhibitions and programs from their earliest stages to realization and evaluation

Teaching experience beyond the level of teaching assistant desirable

Ability to work effectively on a peer level with faculty and must possess superb written, oral, and visual skills

A strong commitment to working as part of a collegial, dynamic team and to forming partnerships in the particular environment of a small liberal arts college


Review of resumes will begin immediately and will continue until the position is filled. Job Group 2-F

Employment at Williams is contingent on the verification of background information submitted by the applicant, including the completion of a criminal record check, and education when applicable.

To apply for this position, please visit http://staff-careers.williams.edu. If you have any questions, please feel free to contact us via phone at (413) 597-4247 or email at hr@williams.edu.

Lithography is a complex, chemical printmaking process that requires first-hand experience to fully grasp the technique and potential artistic applications. Conservators and museum professionals are often responsible for the technical identification of prints without having hands-on printmaking experience themselves. This workshop introduces participants to various lithographic processes and techniques commonly utilized by artists and studios, both historically and up to this day.

The workshop consists primarily of hands-on printing activities at Burning Bones Press but will also include lectures, group discussions and examination of prints in the Museum of Fine Arts, Houston (MFAH) collection. A comprehensive resource binder will be assembled by the participants throughout the workshop from a combination of lecture slides, notes, printing materials (plates and prints), and other useful references. This will allow participants to walk away with a strong understanding of the technique and have invaluable resources at their fingertips.

This three-day intensive workshop is geared towards both emerging and established conservation and curatorial professionals, especially those who work regularly with lithographic prints.


With financial support from the Foundation of the American Institute for Conservation of Historic and Artistic Works

During the summer, Ox-Bow offers two-week residencies to artists who are faculty members in the arts (any grade level), in an adjunct or full-time capacity. This program is designed to give teaching artists the much-needed time to focus on their own work throughout the summer and also to connect with other faculty who are teaching at Ox-Bow. Please fill out the application below to apply. If you have any questions, contact us at 1.800.318.3019.

The Studio Coordinator provides broad support for the Executive Director and Studio Manager across many Spudnik Press programs and efforts.

Acting as an office manager for the organization, the Studio Coordinator will handle phone, mail, and email communication, and will coordinate private lessons, workshops, and hourly reservations, provide client quotes and invoices, respond to all general studio inquiries.

Supporting our educational programs, the Studio Coordinator will act as a registrar and assist with administrative organization for classes and workshops, including maintaining online listings and database inventory, creating and distributing contracts and student surveys. Supporting our Studio Use & Membership programs, the Studio Coordinator will process liability forms, equipment authorizations, memberships, and ensure that all studio users uphold the rules and regulations of Spudnik Press Cooperative.

Working closely with the Executive Director, the Studio Coordinator will implement marketing plans. The Studio Coordinator will manage the organization’s website and social media accounts, create online postings for events and artistic opportunities, develop copy for event, class, and product descriptions, and create and distribute regular e-newsletters to constituents, members and donors. As development efforts continue to expand, the Studio Coordinator will serve on all fundraising committees and using a robust constituent database, acknowledge and track all donations, event-driven fundraising, in-kind gifts, board dues, major giving, sponsorships, grants and more. The Studio Coordinator will contribute to grant writing and donor cultivation efforts through preparing documents, checklists, reports and other grant-related materials.

Administrative tasks will be balanced with hands-on responsibilities in the print shop including leading Orientation sessions, assisting with publishing projects, and leading monthly volunteer sessions. Additionally, the Studio Coordinator will work closely with the member Exhibitions Committee to maintain the gallery, install and document exhibitions, and staff opening receptions.

On a daily basis, the Studio Coordinator will balance responsibility across many programs. This is a fast-paced job that requires strong organization, time management, teamwork, written and verbal communication skills, and the capacity to quickly learn new processes. The ideal candidate will be familiar with multiple printmaking processes and comfortable with art handling. The Studio Coordinator reports to the Executive Director.

Compensation is $14.50/hour. Benefits include paid time off, waived tuition for all Spudnik Press classes, and unlimited access to all materials and equipment. For more information about Spudnik Press, please visit www.spudnikpress.org.

The Museum of Art, Rhode Island School of Design is pleased to announce a fellowship funded by the Andrew W. Mellon Foundation for an outstanding junior scholar who wishes to pursue a curatorial career. The Mellon Fellow will be fully integrated into the Museum’s Department of Prints, Drawings, and Photographs. The Fellow will have access to the museum collections and research libraries in the region and will enjoy all the professional privileges of the museum’s staff. The Fellow will be expected to participate in strengthening the Museum’s engagement with the academic curricula at Brown University and RISD.

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.

Applications are currently accepted through January 10, 2017, for residency sessions between March 31, 2017, and October 5, 2017.

Full residency fee is $690/week, but financial aid is available.

Application Instructions / Public Contact Information

Visit massmoca.org/studios for full details and the application link. No application fee!