The Exhibitions & Curatorial Coordinator will work closely with the Director and all staff to manage IPCNY’s exhibitions program, internally and externally. Working with a dynamic small staff in an open office environment connected to an exhibition space, the applicant must be both a self-starter and a team player. This is an exciting opportunity for a talented candidate with the appropriate background, skills, and ambition to be closely involved in exhibition planning and programming at IPCNY in a hands-on, creative, and administrative capacity. This includes collaborating with artists and curators, managing lender relationships, establishing schedules/deadlines, administering logistics of exhibitions, and handling artworks. Job responsibilities may evolve over time with the potential for growth. Job functions include:

Managing New Prints, juried print exhibitions (2 annually)
- Manages online submissions process and runs jury meetings; actively expands artist, printer, and publisher applicant base.
- Works directly with artists, etc. to coordinate loan forms, shipping, insurance, and framing; oversees gallery preparation, installation, and deinstallation; prepares/edits wall labels, checklist, brochure content, and artist’s statements/biographies.
- Sets schedule/deadlines and collaborates with jury and Director on installation design, and on organizing artist talks and related educational programs.

Managing guest-curated exhibitions (2 annually)
- Organizes all aspects of exhibitions with external curators and Director, from proposal phase through installation. Establishes exhibition schedule/deadlines and special requirements; secures loans and coordinates shipping, insurance, conservation, and condition reporting; oversees gallery preparation, installation, and deinstallation.
- Oversees exhibition budget and prepares/edits content for printed materials (i.e. wall labels, checklist, brochure, catalogue) with IPCNY staff.
- Documents (photo and video) exhibitions and related public programs.

Other duties:
- Manages storage and artwork safety, and liaises with building staff.
- Manages freelance preparators and supervises interns.
- Coordinates Exhibition Committee meetings with Committee Chairs and Director, and presents exhibition reports at Board Meetings.
- Manages installations for special events, benefit sales, and art fairs.
- Participates in leading educational workshops, including printmaking and exhibition talks.

Job requirements: Bachelor’s degree (Master’s degree preferred) in arts administration, museum studies, art history, fine arts, or related field. Demonstrated project management with at least 2-3 years of professional experience in a museum, gallery, exhibition space, or artist’s studio. Demonstrated knowledge of printmaking, the print field, and art world; and prior experience with art installation and handling works on paper. Must be comfortable with a hands-on, fast-paced exhibition environment, and able to work on multiple projects simultaneously, set priorities, and use good judgement. A team-orientated attitude with flexibility is essential. Excellent people skills, communications skills, strong organizational and time-management skills. Collaborative style with the ability to interact effectively and professionally with a diverse group of artists and professionals. Basic familiarity with installation tools/hardware, proficiency in Microsoft Office, especially Excel and Filemaker, and familiarity with creative software, including WordPress, Photoshop, InDesign. Experience behind camera and editing video preferred. Attendance at IPCNY events, some in the evenings, required.

To apply, email a resume, two references, and a cover letter explaining your interest in the position, with the subject line Exhibition & Curatorial Coordinator, to stephanie@ipcny.org.

One of the most visible faces of colonial power and one of the most permanent were the changes in the built environment: the construction of buildings, ports, roads, railways or other infrastructures or the changes in the landscape through forestation, changes in agriculture, etc. These are just some of the examples.

This panel aims to explore the role and assert the importance of the colonial periodical press – newspapers and periodicals (general or scientific), published in the colonial territories and in the metropoles – in the study of the built environment by exploring themes such as the reception, circulation of models, the discussion and understanding by the public, use by the political power, among others. Some of this themes can be discussed by the following questions, to which they are not limited to: How was the built environment used by the press, in the colonial territories and in the metropoles, as a mean of propaganda (by the governments or the oppositions)? Were transcolonial debates or circulations of knowledge (by the circulation of models, etc.) made only by scientific press or also by general press? Who were the predominant actors and what were the main discourses? How can reception, and the change of reception over the course of time, be studied trough colonial periodical press? How are these changes made in the colonial period, perceptible, debated, etc. in the post-colonial period through the press?

This year The Print Center celebrates the beginning of its second century. We are very pleased to announce the two jurors for the 91st Annual International Competition, both curators at The Metropolitan Museum of Art, New York. Kelly Baum, the Cynthia Hazen Polsky and Leon Polsky Curator of Contemporary Art, will be joined by Jennifer Farrell, Associate Curator, Drawings and Prints. Baum and Farrell bring broad expertise and critical interest in the role of print and photography in contemporary art and society, traits that we embrace as core to our mission.

The Annual International Competition is one of the most prestigious and oldest competitions of its kind in the United States. The Print Center is particularly interested in highlighting local, national and international artists who utilize photography and printmaking in intriguing ways, both in content and process.

Any artist using Photography and/or Printmaking as critical components in their work can enter. Artists whose work pushes the boundaries of traditional photographic and printmaking practices are encouraged to enter.

Deadline: November 15, 2016

Entry Information: Entries are accepted online only. Click here to apply: https://printcenter.slideroom.com/

Entry Fee - $45: Visa, MasterCard, American Express and Discover cards are accepted.

Eligibility: Any artist using photography and/or printmaking as critical components in their work can enter. Work submitted must have been completed in the last three years. Up to five images may be submitted and only one submission per person is allowed.

Accepted formats: Images: Up to 5 MB/each: jpg, png, gif

Videos: Up to 60 MB/each: mov, wmv, flv, mp4

Each uploaded file must be labeled with Title, Date, Medium (e.g. etching, inkjet, gelatin silver, lithograph) and Size (paper size, video duration or installation size).

Awards + Prizes
Three solo exhibitions at The Print Center to be held May-August 2017; inclusion in online exhibition of portfolios; Stinnett Philadelphia Museum of Art Collection Award; and over $2,000 in other purchase and material prizes.

Online Exhibition
An online exhibition of the Finalists and Semifinalists selected by the jurors will be mounted on The Print Center’s website. This will be comprised of the images submitted to Slideroom by those artists as part of their application, as well as biographical information and links to the artists’ own websites. Ten Finalists will have more extensive entries on the site, including additional images (Finalists will be contacted by The Print Center to obtain additional information and images).

Solo Exhibitions
Three artists will be selected from the ten Finalists to receive solo exhibitions May - August 2017 at The Print Center, Philadelphia, PA. These artists will receive a $200 honorarium (pending funding, especially for international artists, this amount could be larger). Artists are responsible for delivering or shipping their work to and from The Print Center and all related costs, including framing when appropriate. The Print Center will install and de-install work and promote the exhibitions through a press release, mailed announcement cards, website, email newsletter and other social media outlets.



Calendar
Entry Deadline: November 15, 2016

Notification (by email): January 31, 2017

Solo Exhibitions: May – August 2017

Online Exhibition: Begins May 2017

The Emmanuel College Art Department offers an eight-week artists residency to four artists each summer. The residency supports a diverse group of artists, providing time and space for established and emerging artists to develop their work.

However, the Art Department specifically aims to award a residency to one individual from each of the four categories: ceramics, photography, printmaking and social justice. We strive to foster a supportive environment to achieve creative and artistic excellence. The residency also plays an important role in advancing the visual arts on the Emmanuel campus, providing an important educational program on contemporary art accessible to students, staff, and faculty. Residents should be willing to support and interact with each other, students, and faculty.

The residency defines Emmanuel College as a leader in the visual arts and brings greater visibility to that leadership role beyond the confines of the College.

Residency Specifications:

• Artists must not be currently enrolled in any academic program
• Residency is from mid June to mid August 2017
• Artists will receive a stipend of $1000 dollars and reimbursement for travel and visa up to an additional $1000.
• Lodging is provided in the college dorms, with access to a small kitchen.
• Artists may be invited back for a presentation during the 2017/18 academic year based on teaching needs
• Residents have access to communal college studio facilities with ample space sharing - ceramics, wood shop, print shop, darkroom, design lab and drawing studios
• Artists must devote 3 hours to Emmanuel’s summer art history course, Contemporary Art and Artistic Practice, discussing their own process.
• Emmanuel will host a closing exhibition for all resident artists to participate in and show the larger community the end result of your work.
• Artists will donate one piece to Emmanuel College at the end of the residency.
• Application is due Feb 1st, 2017
• Visit our website for more details and to apply. http://www.emmanuel.edu/ecar

Each year, the Friends of the Princeton University Library offer short-term Library Research Grants to promote scholarly use of the Library’s special collections. The award is $1,000 per week (up to four weeks) plus transportation costs.

Applications will be considered for scholarly use of archives, manuscripts, rare books, and other rare and unique holdings of the Department of Rare Books and Special Collections, including the Seeley G. Mudd Library; as well as rare books in Marquand Library of Art and Archaeology, and in the East Asian Library (Gest Collection). Special grants are awarded in several areas: the Elmer Adler Fund supports all aspect of research in the graphic arts; the Seeger Center for Hellenic Studies supports a limited number of library fellowships in Hellenic Studies; and the Cotsen Children’s Library supports research in its collection on aspects of children’s literature. The Maxwell Fund supports research on materials dealing with Portuguese-speaking cultures. The Sid Lapidus '59 Research Fund for Studies of the Age of Revolution and the Enlightenment in the Atlantic World supports relevant special collections research.
For more information, or to apply, please go to http://rbsc.princeton.edu/friends-princeton-university-library-research-grants. The deadline to apply is January 31, 2017. Grants are tenable from May 1, 2017 to April 30, 2018.

The Middle East and North Africa (MENA) have been sources and/or subjects of reading material in Canada since about 1866, when the first Canadian edition of the Arabian Nights was published in Montreal. Today, a growing number of books, periodicals, webpages, and social media sites produced in Canada are in MENA languages such as Arabic, Persian, Turkish, and Kurdish, in addition to Canada’s official languages of English and French.

This panel will include papers that document, explain, historicize, and/or analyze MENA reading material produced and/or consumed in Canada. Rather than anachronistic criticism, presentations should explain the various manifestations and conceptions of MENA literatures and cultures in and as reading material across Canada. Papers may contextualize these materials and/or discuss their uses by the various linguistic/ethnic/professional/social communities of Canadian readers. Possible questions to consider include:

What materials do Canadians – citizens as well as permanent and temporary residents – read about the MENA? What materials were produced and/or consumed historically?
What materials in Arabic, Persian, Turkish, Kurdish, and other MENA languages are produced and/or circulated in Canada? What are the circumstances of their production/circulation? How do Canadian readers access these materials? What kinds of meaning do they ascribe to these materials?
What kinds of socialization have these texts inspired in the past and/or present?
How does the reading of these materials support and/or hinder the formation of communal/national identities, past or present?
What circumstances have influenced the production, circulation, and readership of print and/or online material in Arabic, Persian, Turkish, Kurdish, etc. in Canada?

This panel is in response to the Congress 2017 theme “From Far & Wide: The Next 150,” and will be submitted to the program committee of CASBC/ACÉHL’s conference, titled “Beyond the Oceans: Canada in the World - Book and Print Culture Unbound.” This conference will take place at Ryerson University (in Toronto) on May 30–31, 2017.

Submissions, including a 200-250-word abstract and a brief CV, should be sent to Rasoul Aliakbari (University of Alberta), panel organizer and chair, at rasoul@ualberta.ca by November 30, 2016.

** NOTE -- The CASBC are also accepting proposals for other panels/papers. CASBC/ ACÉHL defines “book culture” broadly to refer to studies in the history of the book, literary and cultural history, historical bibliography, digital humanities etc.

The conference organizers will consider papers on all periods and places, but priority will be given to papers falling within this year’s theme. Proposals (in French or English) should not exceed 250 words and should include a title and abstract, indicating the research basis of the study as well as the argument of the paper. A brief c.v. (one page) should be supplied. Papers may be in French or English and should not exceed 20 minutes. Panels of three papers will be considered.

Proposals should be submitted by email to Myra Tawfik, University of Windsor, CASBC Program Chair at mjt@uwindsor.ca by December 15, 2016.

The New York Public Library is pleased to offer Short-Term Research Fellowships to support scholars from outside the New York metropolitan area engaged in graduate-level, post-doctoral, and independent research. Individuals needing to conduct on-site research in the Library’s special collections are welcome to apply. Preference is given to applications making a strong case for accessing special collections materials.

Fellowship stipends are $1,000 per week for a minimum of two and maximum of four weeks.

Questions about the Short-Term Research Fellowships should be directed to the curatorial staff in the area of the applicant’s interest. Please visit http://nypl.org/research-collections for detailed information about the research resources of The New York Public Library.

Eligibility: Only U.S. citizens, permanent residents and foreign nationals who have been resident in the United States for the three years as of January 31, 2017 may apply.

Postdoc, 38 hours per week (1,0fte), in the HERA Joint Research Program Printing the Past. Architecture, Print Culture, and the Uses of the Past in Modern Europe.

This project examines the relationship between architecture, print culture, and uses of the past in modern Europe and beyond. Looking primarily at architectural debate from late 18th to early 20th century, we study the ways in which new notions of the past were negotiated and constructed through architecture. This negotiation took place not only in stone but on paper, not least in the illustrated press emerging from the 1830s onwards, spreading architectural texts and images to new audiences in Europe, European colonies and USA. By means of hitherto neglected historical material, PriArc studies the preconditions of architectural culture in the contemporary world; an urgent task, it seems, at a time when Europe’s built environment is being rapidly reconfigured, both as a physical structure and a mediated environment.

Based at the Oslo School of Architecture and Design (AHO), this multidisciplinary humanities project involves researchers from Leiden University, Ghent University, and University College London, as well as designers and curators from Victoria & Albert Museum/Royal Institute of British Architects, London; Musée d'Orsay, Paris; Museum of Cultural History at the University of Oslo, and the digital media lab Factum Arte based in Madrid/Bologna.

The postdoc in this program will be based in Leiden, and will investigate, together with prof. dr Mari Hvattum (Oslo, P.I. of the program), prof. dr Caroline van Eck (Leiden/Cambridge) and dr Alice Thomine (Musée d'Orsay) the role of the Paris Ecole des Beaux-Arts. S/he will chart how the paper and built reconstructions of Graeco-Roman buildings the main issues addressed in this HERA program play a role:

- transformation of the architectural canon and its implications about the question whether architecture should embody universal principles or is contingent on time and place
- the polychromy debate and its ramifications/transformations into a debate about the origins of architecture
- the aims and methods of architectural history
- the transformation in the classical style that takes place in the envois and designs.

The candidate
We are looking for an architectural or art historian specialized in 19th-century European architecture. The candidate must have an affinity with the theme of this research project, as is evident from publications, conference papers and teaching topics. Good French reading and speaking fluency is a requisite. The candidate must be a team player, who is ready to play a substantial role in the research and teaching of LUCAS.

Tasks
- To conduct research in the archives of the Ecole des Beaux-Arts and Musée d'Orsay in Paris;
- To prepare and submit research output for publication in peer-reviewed international journals;
- To write a monograph;
- To organize one of the projects workshops, to be held in Cambridge or Leiden, and to curate a web exhibition
- To take an active part in the various activities of LUCAS

Requirements
- Ph.D. degree in architectural or art history on a relevant subject, obtained after 2010
- Good knowledge of French
- Excellent knowledge of English, both oral and written
- Clear affinity to the project’s topic
- The ability to work independently but at the same time being a strong team player

Appointment
The successful applicant will be appointed according to the terms of the Collective Labour Agreement of Dutch Universities ( CAO Nederlandse Universiteiten), for a period of three years (38 hours per week). The gross monthly salary will range, depending on qualifications and experience, between € 2.744,- and € 3.755,- based upon a full-time appointment according to salary scale 10. The successful candidate will be exp

This NKJ volume aims to investigate the relation between the visual arts (painting, drawing, applied arts, architecture, sculpture, photography) and education by employing a twofold approach: On the one hand it asks how the visual arts were taught: to whom (i.e. to experts, amateurs, women, children), why (skill, general development, entertainment, literacy, religious and/or scientific and medical education) and how (i.e. in classes, hands-on, through manuals, illustrations, models, photographs, radio, television)? On the other hand it investigates how the visual arts themselves were employed in education and through which processes and media they became effective. How were paintings, drawings, calligraphy, prints, models, photographs etc. used in scientific and professional training?