Meadows Museum fellowships offer pre- and post-doctoral students an intensive scholarly and professional experience in curatorial work with an unparalleled combination of resources and direct access to the museum’s staff and collection. One of the most wide-ranging collections of Spanish art in the world, the Meadows Museum’s collection spans 12 centuries of Spanish art — from the medieval to the contemporary — and is constantly growing.

Fellowships include substantial stipends* for research, travel, and professional development; active participation in the organization of exhibitions and the management of the permanent collection; funds for a capstone project of your choice; opportunities to develop career skills such as grant management, public speaking, program development, and donor relations; relocation assistance for post-doctoral fellowships; and more.

Post-doctoral fellowships enjoy the gracious support of the Mellon Foundation, while pre-doctoral fellowships are supported by the Center for Spain in America.

The priority application deadline is November 28, 2022, and the final deadline is January 22, 2023. The anticipated start date is in the fall of 2023.

Please apply at the link below.

Benton Museum of Art at Pomona College is delighted to announce AllPaper Seminar at Pomona College has returned for its second year. This program is designed to introduce emerging museum professionals from diverse backgrounds to the rich and rewarding field of works on paper and is supported by the Getty Foundation through its Paper Project initiative. We are now welcoming applications to the seminar from advanced undergraduates, recent graduates, and early graduate students from the southwestern region of the United States.

The seminar will start with an orientation for the 12 program participants at the Getty Center on the 6th and 7th of April 2023. Then, from June 4th–10th 2023, the cohort will reconvene for a weeklong residency at the Benton Museum of Art at Pomona College. The residency will include hands-on sessions concerning the material properties of drawings, their interpretation, collecting practices, and trips to collections and studios in the Los Angeles area.

All expenses will be paid for participants, and all travel and logistical arrangements will be made by the Benton. Additionally, participants will receive a $1500 honorarium. The deadline to apply is October 31, 2023. Visit the link below to find the application information

The Contemporary Print is presented in collaboration with The Art Galleries at Austin Community College for an exhibit from January 23 through March 13, 2023. Zane Bennett Contemporary Gallery representatives will be extending individual invitations to artists selected to TCP for exhibition in their gallery during Print Santa Fe in April 2023. PrintAustin will be responsible for shipping the work from Austin to Santa Fe. Reception dates TBD.

JUDGING: This is a blind jury, and works will be judged on traditional printmaking techniques and innovative approaches in contemporary printmaking. While non-traditional or digital output is accepted as a print element, submissions must utilize traditional print media as their primary technique. These include lithography, relief, intaglio, silkscreen, photopolymer plate (i.e. SolarPlates), and monotype. Solely digital and photographic prints are not eligible. For questions regarding eligible media, please contact info@printaustin.org. NOTE: You may enter the same work into 5×5 and TCP should you decide to enter both contests. However, you will be disqualified from winning top prize in TCP should you be selected into 5×5.

ABOUT OUR JUROR: Rashaun Rucker (b. 1978, Winston-Salem, NC) ) is a product of North Carolina Central University and Marygrove College. He makes photographs, prints and drawings and has won more than 40 national and state awards for his work. In 2008 Rucker became the first African American to be named Michigan Press Photographer of the Year. He also won a national Emmy Award in 2008 for documentary photography on the pit bull culture in Detroit. Rucker was a Maynard Fellow at Harvard in 2009 and a Hearst visiting professional in the journalism department at UNC-Chapel Hill in 2013. In 2014 Rucker was awarded an artist residency at the Red Bull House of Art. In 2016 Rucker was honored as a Modern Man by Black Enterprise magazine. In 2017 Rucker created the original artwork for the critically acclaimed Detroit Free Press documentary 12 and Clairmount. His work was recently featured in HBO’s celebrated series Random Acts of Flyness and Native Son. In 2019 Rucker was awarded the Red Bull Arts Detroit micro grant and was named a Kresge Arts Fellow for his drawing practice. In 2020 Rucker was named A Sustainable Arts Foundation Awardee. Rucker was a 2021 resident at the International Studios and Curatorial Program (ISCP) in Brooklyn, New York and is currently a Mellon Resident at the University of Michigan Institute of Humanities. Rucker’s diverse work is represented in numerous public and private collections.

Discounts: PrintAustin members will be able to pay $2 to enter vs the regular $35 fee. Find out more about membership. We have a limited number of waived registration fees regardless of membership status for artists in need should you be experiencing hardship. Please email us at info@printaustin.org if you’d like to check availability. All applications need to go through the CaFE application system.

Mission Statement for The Art Galleries at Austin Community College: We believe that community-wide engagement with the visual arts produces important dialogues, creates new ideas, and gives voice to diverse viewpoints. We value arts education and open artistic expression through exhibitions and programming as a service to ACC and our community.

Deadline to apply: November 1, 2022 at 11:59pm (CST)

Juried exhibitions to be shown during PrintAustin and Print Santa Fe. Only one entry needed to apply to both exhibitions!

We’re excited to announce its 3rd iteration of 5X5, our juried exhibition with extended artist features. We’ve added a new dynamic this time and will have two jurors pulling from identical submissions, creating two exhibitions. Our jurors are Holly Borham, Curator of Exhibitions at the Blanton Museum of Art for the Austin exhibit and Jordan Eddy, Gallery Director at Zane Bennett, for the Santa Fe exhibit. For PA 5×5 we will have an in-person element at Link & Pin Gallery in Austin (Jan-Feb, 2023) for artists chosen by Holly Borham, and for PSF 5×5, an exhibition at Zane Bennett Gallery in Santa Fe (April 2023) of works chosen by Jordan Eddy. The 5X5 will feature five artists per juror, with artists selected based on their collective submission. Each winner will be awarded a $500 stipend.

The ten 5X5 Selected artists will receive:

A stipend of $500
Catalog of exhibition
A podcast interview with either Hello, Print Friend or Studio Noize
An invitation to participate in our Instagram Residency where they will take over PrintAustin’s Instagram account for up to 3 days to help promote their work
The opportunity to participate in additional programming such as IGTV, Zoom conference, podcast, or panel discussion related to their work or studio practice
An Artist Feature in one of our weekly e-newsletter blasts during PrintAustin or Print Santa Fe 2023
Two pieces chosen to hang in an in-person exhibition at Link & Pin, mid January – February, 2023
All five pieces to hang in an in-person exhibition at Zane Bennett, April 2023
JUDGING: This is a blind jury and works will be judged on traditional printmaking techniques and innovative approaches in contemporary printmaking. While non-traditional or digital output is accepted as a print element, submissions must utilize traditional print media as their primary technique. These include lithography, relief, intaglio, silkscreen, photopolymer plate (i.e. SolarPlates), and monotype. Solely digital and photographic prints are not eligible. For questions regarding eligible media, please contact info@printaustin.org.

ABOUT OUR JURORS:
Holly Borham has been at the Blanton Museum of Art since 2017, where she is Associate Curator of Prints, Drawings, and European Art. Her exhibitions include Fantastically French! Design and Architecture in 16th to 18th-Century Prints (2022), After Michelangelo, Past Picasso: Leo Steinberg’s Library of Prints (2021), and Copies, Fakes and Reproductions: Printmaking in the Renaissance (2019). Holly earned her PhD in Art and Archaeology from Princeton University and is a member of Print Council of America.

Jordan Eddy is a Santa Fe-based writer, curator, and gallerist. He is the director of form & concept and Zane Bennett Contemporary Art, and he is cofounder of the project space No Land. He has contributed to multiple print and digital publications.

FEES AND DISCOUNTS: PrintAustin members will be able to pay $2 to enter vs the regular $35 fee. Find out more about membership. We have a limited number of waived registration fees regardless of membership status for artists in need should you be experiencing hardship. Please email us at info@printaustin.org if you’d like to check availability. All applications need to go through the CaFE application system.

Deadline to apply: November 1, 2022 at 11:59pm (CST)

Located in Middletown, Connecticut, Wesleyan University is one of the nation’s premier liberal arts colleges with 3,000 undergraduates and 200 graduates. Established in 1831, Wesleyan is known for its rich, open, and interdisciplinary curriculum. We have a long-standing commitment to creating a dynamically diverse campus comprised of students from all racial, ethnic, cultural, and socioeconomic backgrounds.

Within this intellectually stimulating environment, the Wesleyan University Libraries play an important role. Wesleyan’s Special Collections & Archives (SC&A) is the home of the University’s archives, local history, manuscript, and rare book collections. The Special Collections is made up of over 45,000 volumes of rare books ranging from medieval manuscript codices and early printed books to 21st century fine press books, and covers numerous formats, including books, pamphlets, broadsides, and maps. It also holds a strong collection of over 1,000 artists’ books with one strength of the artists’ books being social issues and social justice.

Reporting to the Acting Dietrich Family Director of Special Collections & Archives (SC&A), this term limited position (January 2023-December 2023), will collaborate with faculty, librarians, and students to provide innovative instruction and research services using SC&A holdings in the areas of rare books, the history of the book, manuscripts, artists’ books, and primary source literacy.

This position will split the instruction load with the Acting Dietrich Family Director. In a typical academic year, the Instruction & Reference Librarian would teach 35-50 class sessions. They will also help provide effective reference/research consultation both in-person and virtually.

RESPONSIBILITIES:
• Develops and conducts instruction sessions using Special Collections & Archives resources for a diverse community and student body, working across a range of arts and humanities disciplines. Primarily sessions will relate to one or more of the following: rare books, history of the book, manuscripts, and artists’ books.
• Works closely with faculty to select materials for classroom instruction, prepares multimodal context for these materials, and creates instructional materials such as lesson plans, assignments, and handouts to integrate Special Collections materials into the curriculum.
• Assesses and adjusts instruction strategies and techniques based on learning objectives, student outcomes, and faculty feedback.
• Provides reference services in the SC&A reading room, online, and by telephone, and staffs the reading room 6-8 hours per week.
• Collaborates with SC&A colleagues on collection development decisions for rare books and manuscripts in order to support the curriculum and research needs of the university.
• Assists with staffing events, open houses, and additional outreach activities.
• Performs other duties as assigned.

CFP | ASECS 2023 | St. Louis, MO (March 9 -11, 2023)
Session 84 | Print Albums: From Artistic Collaboration to Geo-political Ramifications, Susanne Anderson-Riedel, University of New Mexico, ariedel@unm.edu

Print albums and printed and bound gallery collections are among the most prestigious and valuable graphic productions from the 17th to the early 19th century, before they were replaced by reproductive photo albums. Publishing print albums raised the reputation of art collections, collectors, artists, and publishers alike, whether the publications focused on individual artists (such as the “Recueil Julienne,” publishing Watteau’s paintings and drawings in prints) or on entire collections (such as the print folios “Le Cabinet du Roy,” “La Galerie de Florence,” “Shakespeare Gallery,” “Le Pitture Antiche d’Ercolano,” et.al). Print albums posed new and innovative questions for their time. They competed with older publications in terms of content and technique. They played a significant role in cultural politics. Not only did print albums contribute to making the reproduced artworks known beyond the region, but the prints contributed to the arts’ global visibility due to their multiplicity and wide dissemination. Thus, they shaped the teaching at art academies and applied arts schools worldwide, forming the first canon of European vs non-European art. From the perspective of their audiences, print albums influenced tastes, shaped artistic perceptions and expectations, and constructed cultural cognition. From the viewpoint of the producing artists (draughtsmen and engravers), authors, publishers, and editors, the collaborative print publications allowed for intense professional networking. We invite scholarship on the production, collaboration, dissemination, and the market of print albums and/or art books during the long 18th century, along with inquiries on theoretical frameworks that scholarship applies to understand the cultural, trans-regional, and geo-political ramifications of print publications.

Please find the full list of sessions and the abstract submission form at the link below.

All Things Great and Small: Miniatures and Monstrosities in the Eighteenth-Century World, Daniella Berman, Institute of Fine Arts, New York University, daniella.berman@nyu.edu; Blythe C. Sobol, Nelson-Atkins Museum of Art and Institute of Fine Arts, NYU, blythe.sobol@gmail.com

From netsuke to Antonio Canova’s colossal nude statue of Napoleon as Mars, the visual culture of the long eighteenth century offers a multitude of examples through which to interrogate questions of scale and size. The period saw a rise in the prevalence of portrait miniatures, the expansion in size of pastel portraits facilitated by technical innovations, the advent of large-scale religious paintings in viceregal Mexico, the proliferation of reverse-painted Chinese snuff bottles, the growth in the number and variety of pieces in European porcelain services, and important shifts from large-scale history subjects to more intimate, so-called decorative ones in canvas painting and back again. This era provides a particularly fruitful opportunity to consider the impact of the miniature and the monumental on works of art, artists, and viewers alike.
We seek papers that consider questions of size and scale, either by focusing on examples of extremes, by exploring the limitations or changing possibilities of certain media through technical innovations, or by considering the ways in which concerns of size and scale were discussed and theorized between artists, patrons and critics. What representational conundrums did artists encounter in these extremes of scale – in terms of production, display, and reception – and how were these negotiated? How did size and scale play a role in the rapidly changing hierarchies of the period, both art historical and political? And how were these tiny and grandiose wonders understood and consumed by an increasingly attuned public? Global approaches to this wide-ranging subject are especially welcome.

The current deadline for submission is October 3, 2022. Submissions should be made via ASECS's online form: https://docs.google.com/forms/d/e/1FAIpQLSdtl9cr9H0cMQFyDmvJWqHB3tBXzGBV4sr2uyIU2KOM7QRceQ/viewform

Print albums and printed and bound gallery collections are among the most prestigious and valuable graphic productions from the 17th to the early 19th century, before they were replaced by reproductive photo albums. Publishing print albums raised the reputation of art collections, collectors, artists, and publishers alike, whether the publications focused on individual artists (such as the “Recueil Julienne,” publishing Watteau’s paintings and drawings in prints) or on entire collections (such as the print folios “Le Cabinet du Roy,” “La Galerie de Florence,” “Shakespeare Gallery,” “Le Pitture Antiche d’Ercolano,” et.al). Print albums posed new and innovative questions for their time. They competed with older publications in terms of content and technique. They played a significant role in cultural politics. Not only did print albums contribute to making the reproduced artworks known beyond the region, but the prints contributed to the arts’ global visibility due to their multiplicity and wide dissemination. Thus, they shaped the teaching at art academies and applied arts schools worldwide, forming the first canon of European vs non-European art. From the perspective of their audiences, print albums influenced tastes, shaped artistic perceptions and expectations, and constructed cultural cognition. From the viewpoint of the producing artists (draughtsmen and engravers), authors, publishers, and editors, the collaborative print publications allowed for intense professional networking. We invite scholarship on the production, collaboration, dissemination, and the market of print albums and/or art books during the long 18th century, along with inquiries on theoretical frameworks that scholarship applies to understand the cultural, trans-regional, and geo-political ramifications of print publications.

[https://docs.google.com/document/d/1Dfk0IeSI2hMZqI6M_T696Ko0xdWJyfM1/edit]

The Huntington Library will begin accepting Research Fellowship Applications for the 23-24 fellowship year for Long-Term Fellowships, Short-Term Fellowships, and Travel Grants on August 31, 2022 until 11:59pm PST on November 15, 2022.

SUPPORT

The Huntington offers 14 Long-Term Fellowships for nine to 12 months in residence, each with a stipend of $50,000. Although nine of these are open to scholars working on projects in any area where The Huntington’s collections are strong, there are specific awards for the study of Octavia E. Butler (The Butler Fellowship), maritime history (The Kemble Fellowship), the history of medicine (The Molina Fellowship), and the history of science (The Dibner Fellowships). Three awards (The Thom Fellowships) are reserved for recent post-doctoral scholars.

https://www.huntington.org/fellowships

Approximately 140 Short-Term Fellowships are available for one to five months in residence and carry monthly stipends of $3,500. They are open to scholars in any field where The Huntington’s collections are strong.

Recipients of all fellowships are expected to be in continuous residence at The Huntington and to participate in, and make a contribution to, its intellectual life.

Six Travel Grants for Study Abroad are available in any of the fields in which The Huntington’s own collections are strong and where the research will be carried out in libraries or archives outside of the United States or Canada, especially those in the UK, continental Europe, or Latin America.

We also offer nine Exchange Fellowships with Corpus Christi, Jesus, Linacre, Lincoln, and New Colleges, Oxford; Trinity Hall, Cambridge; Trinity College Dublin/Marsh's Library; the University of Durham; and the John Rylands Research Institute and Library at The University of Manchester. The intention is to encourage projects which can be developed both in The Huntington's collections and in archives across the world.

For details on eligibility and the application process, see the link below.

Tamarind Institute invites applications for artist collaborations with its skilled student printers. Three guest artists will be selected to participate in two-week residencies in the Albuquerque workshop, each working with a team of student printers under the close supervision of a Tamarind Master Printer. Participating artists will create two editions as outlined below, with the collaborating printers providing guidance on the materials and all technical aspects of the printing process. No previous experience in printmaking is necessary. We welcome proposals from artists in all media.

RESIDENCY and FEES
At the completion of the two-week residency the artist will sign off on trial proofs, and the printing of the two editions will take place after the artist leaves. The editions will be completed by the end of the summer 2023, at which time the artist will receive all of the prints and proofs for signing. With the exception of one record impression for the Tamarind archive and one printer’s proof retained by the printer, all of the prints will be the property of the artist.

The workshop fee is a flat $2000, which includes the following:
Two editions, each in an edition of 10-15 prints
Each edition includes one artist proof, one printer’s proof, and one record impression for the Tamarind archive.
30 x 22 inch maximum paper size from available paper stock
5 press runs maximum
5 trial proofs maximum

APPLICATION PROCESS
Please submit a resume and a letter outlining your previous experience and interest in collaborative printmaking. Include a one-page proposal outlining what kind of project you would like to explore at Tamarind, and how collaborating with a team of printers would allow you to expand your practice. Include up to 10 digital images of recent work.

No previous experience in printmaking necessary. We welcome proposals from artists in all media.
Three residencies are available between January and March 2023.

Submit applications to tamarindeducation@unm.edu with subject heading 2023 STUDENT PRINTER COLLABORATION PROPOSAL