Reporting to Curator & Department Head, Photography and Prints & Drawings, the Acquisitions Administrator assists the Department Head, Curators, Associate Curators, and Assistant Curators with acquisitions, purchases, donations, promised gifts, and joint acquisitions. They will also liaise with Registration, Collections Management, CIDA, Conservation, Photo Services

Responsibilities:
Coordinates logistics of acquisitions, including liaising with donors and LACMA’s registrar, creating TMS entries and completing all registrarial forms required.
Gathers all information needed for quarterly acquisitions meetings.
Tracks invoices and payments.
Drafts thank-you letters for Dept Head.
Confirms accuracy of all object information in database.
Uploads new acquisitions to Collections Online.
Tracks the issuing of LACMA memberships to artists in collection (CALM).
Coordinates digitization of collection objects.
With guidance from curators, communicates with artists to secure hi-res files and permission to make exhibition prints.
Maintains statistics to quantify annual acquisitions activity.
Creates necessary work orders for movement of collection (photography, conservation, display, etc.)
Maintains collection files (paper and electronic).
For large acquisitions, contributes to project planning to anticipate the resources and time required for processing.
May be the first and/or primary point of contact with potential donors and vendors.
Assists in assigning tasks and reviewing work of interns and volunteers.
Special projects and other duties as assigned by Dept Head TBD.

Benefits:
The expected hourly for this Los Angeles, CA based position is $21.63 - $22.12, subject to change, and the position is eligible for LACMA’s comprehensive benefits package, including pension plan.
LACMA is committed to providing its employees with valuable and competitive benefits as a core part of a strong overall employee experience.

Qualifications:
Bachelor’s degree in Art History or other relevant field (e.g. Fine Art, Film, History, Anthropology, Critical Theory, etc.).
Previous experience in a gallery, research, library, or museum setting preferred.
Demonstrated ability to organize, prioritize, and handle multiple tasks to meet established deadlines.
Exceptional written and oral communication skills.
Excellent knowledge of Microsoft Word and Google suite.
Previous experience with The Museum System a plus.
Analytical, detail-oriented, flexible and efficient.

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

Applications deadline extended to October 30, 2023 for Spring 2024 residencies. Notification in early November 2023.

Working with the Associate Curator of Prints, Drawings, and European Art, the Assistant Curator is responsible for overseeing an encyclopedic collection of more than 17,000 works on paper in the Blanton's collection, including managing a very active study room, and cataloguing, care, research and storage.

For the full job description and to apply, please follow this link:

https://utaustin.wd1.myworkdayjobs.com/UTstaff/job/UT-MAIN-CAMPUS/Assistant-Curator-of-Prints-and-Drawings_R_00029503

*Open until filled*

Wesleyan University's 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. It holds materials in multiple formats, including books, pamphlets, broadsides, and maps. It also maintains a strong collection of over 1,000 artists’ books with one highlight being those on social justice and related issues.

Wesleyan’s Special Collections is part of the newly formed Unique Collections department that includes the: University Archives, Archaeology & Anthropology Collections, Center for East Asian Studies Art & Archival Collections, and the World Music Archives.

Reporting to the Dietrich Family Associate University Librarian for Unique Collections, the Head of Special Collections will lead in developing collaborative, sustainable approaches to managing a complex portfolio of Special Collections services, projects, and programs. Additionally, they will work to strengthen the department’s focus on diversity, equity, inclusion, and antiracism in collections practices.

At its May, 2023, annual meeting, the AHPCS Board voted to add two essay awards to recognize shorter works published in journals and edited volumes, including exhibition catalogues and digital formats. Essays between 3,000 and 10,000 words will be considered. Works should be submitted in published form as a hard copy or digital attachment. The Society’s present Newman Award Committee will serve as the jury to evaluate these additional submissions. Jurors are all AHPCS members and include collectors, curators, and scholars of American prints.

The purpose of the book and essay awards is to recognize and encourage outstanding scholarship in the field, as defined in our mission statement: prints depicting or reflecting North American history and culture, made either in America or elsewhere. Original research, fresh assessments, and the fluent synthesis of known material will be taken into account. The emphasis is on quality and on making an outstanding contribution to the subject. Publications remain eligible from the year of publication through the following year, a period of approximately two years. Once a work has been reviewed by the jury, it will not be considered in a subsequent cycle except in a substantially revised edition. Submissions received by December 1st will be considered for the award announced the following spring.

Each annual cycle typically will result in one Book Award in the amount of $2,000 and two Essay Awards in the amount of $750 each. One of the essay awards will be designated for the best article in the AHPCS journal Imprint, as selected by the Committee. Awards are not necessarily presented each year but are determined by the quality of available submissions. Occasionally, there may be multiple winners in an individual year.

Submissions & contact information

Please contact the chair of the Newman Book Award committee for instructions on mailing a copy of the publication:

Helena Wright, chair
Email: wrighthelena16@gmail.com

We invite the submission of abstracts for papers to be presented at the symposium The Arctic throughout History: Visual and Cultural Conceptions, organized in conjunction with the exhibition The Awe of the Arctic: A Visual History at the New York Public Library. The exhibition is an in-depth study of visual depictions of the Arctic, both real and imagined, throughout the last 500 years. Drawing heavily on the Library’s collection of prints, photographs, and books, the exhibition seeks to understand the ways in which the Arctic was depicted and disseminated throughout Europe and America, while also challenging its historical and contemporary romanticization.

The symposium will bring together scholars working across the humanities who are interested in questions about how the Arctic has been represented and understood historically, and its relevance in our global culture today. It asks questions such as: What sort of visual or textual sources became the authorities on the Arctic region, and how do they shape the persistence of certain stereotypes or myths about the far North? How should we consider illustrations in relation to textual narratives and scientific data? How are contemporary artists using (or are inspired by) the Arctic in relation to its environment, history, and community? What can we learn from histories of the Arctic to reframe current understandings of the landscape and its people?

Paper topics might include (but are not limited to):
Individual studies of artists (painters, photographers, printmakers, or filmmakers) working in the Arctic or their artworks
Early depictions of the Arctic
Studies of maps and shifting Arctic geography
The Arctic as portrayed in fictional literature
Women in the Arctic
The representation of natural phenomena in the Arctic, such as the aurora borealis, paraselene, or parhelion
Portrayals of Indigenous communities and customs
The in/visibility of Arctic colonialism and capitalism
Individual expedition narratives and national pursuits
The cult of the Explorer and embellished narratives
Arctic ephemera, taxidermy, and relics
Popular artifacts depicting Arctic scenes such as stereographs, cigarette cards, trade cards, postcards, games
Technology and representation in the Arctic (printmaking, cameras, color photography)
Climate change and artistic expression
Arctic wildlife and its representation

We invite proposals for 20-minute presentations.

Please submit a 250-word abstract and maximum 2-page CV by October 16, 2023 to arcticsymposium@nypl.org

Organizers: Elizabeth Cronin and Maggie Mustard

The Arctic throughout History: Visual and Cultural Conceptions is organized in conjunction with the exhibition The Awe of the Arctic: A Visual History at The New York Public Library, March 15-July 13, 2024.

The research group “Textures of Sacred Scripture. Materials and Semantics of Sacred Book Ornament” (https://textures-of-scripture.ch) and the Chair of Medieval Art History at the University of Zurich invite paper proposals for an international conference on “Superficies – Surfaces, Skins, and Textures. Sensory encounters with books and related multi-layered objects”. The conference, funded by the Swiss National Science Foundation, is scheduled to take place at the Institute of Art History of the University of Zurich on 18-20 January 2024.

Surfaces are boundaries that mediate our sensory interactions with objects. Surfaces reveal, but they also conceal. In traditional aesthetic discourse, their multiple tactile and visual qualities are often contrasted with depth, and in a pejorative sense, superficiality is opposed to inner virtue and an intellectual understanding of things. This stark opposition between outer surface and inner core is put to the test by multi-layered objects such as books. Here, surfaces abound. Once opened, books in codex format display a multitude of layered skins and textures that are essential for the visual and haptic experience of the object in space and time. Perhaps more than other objects, books tangibly embody the complex relationship between surface and depth, through their composition and spatial structure as multi-layered objects. While the surfaces of sculpture and architecture have recently come to the attention of art historians, the surfacescapes – to use an expression coined by the art historian Jonathan Hay – of books and other multi-layered objects have been far less examined.

The conference aims to take a fresh look at the diversity of surface landscapes in books and other multi-layered objects. From the highly valuable vestments that clothe the exteriors of precious books to the parchment skins of their interiors, all layers are the product of diverse surface treatments. Techniques such as coating, polishing, tooling, and engraving determine the visual and haptic qualities of bindings and pages, and are reflected in their textures and sensory qualities.

We welcome proposals that consider the various surfaces of books and related multi-layered objects, such as handheld foldable objects, albums of prints and papers, multi-layered clothing, accoutrements, and containers. Paper topics may range from antiquity through the Middle Ages and beyond, in all cultures; transcultural studies as well as broader theoretical approaches are also welcome. Discussions across disciplinary boundaries are encouraged. Topics of particular interest are:

Session will present: In-Person
Affiliated Society or Committee Name: Association of Print Scholars
Anastasia Belyaeva, University of Geneva and Roman Grigoryev, Hebrew University at Jerusalem


This panel seeks to investigate the brutality of the printmaking process. Techniques such as engraving, drypoint, or woodcut, imply a battle with the matter by altering the matrix with sharp tools. Chemical processes in etching entail the danger of explosions and burns. Making changes on a metal plate requires burnishing out and leveling with a hammer. Pressure is required to drag a squeegee when making a screenprint. Force is required to manipulate a press. The very terminology of printmaking is aggressive: plates cut, scratched, impressions pulled, matrices cancelled and destroyed.
This physical intensity on the edge of violence affects the working process and the work. Rembrandt’s "The Three Crosses", for example, embodies both the aggressive treatment of the plate and the atmosphere of the Golgotha events. Or, Gaston Blachard’s analysis of Albert Flocon’s engravings led to his theory of printmaking as "combat anthropocosmique." Taller de Gráfica Popular’s trademark of hands cutting a matrix with knifes refers both to their preference for linocut and woodcut techniques and the group’s self-representation as armed fighters.

The panel invites papers that examine the impact that the brutality of printmaking methods have on the artists, the aesthetics, and the poetics, and on their perception by the public and scholars. We welcome papers studying the connection between violence and printmaking across all cultures and periods, and across a variety of approaches, including, but not limited to, material, conceptual, and methodological, both through a theoretical lens and through the lens of the creative practice.

***Submissions due to session chairs by August 31, 2023

Museums and galleries across the world are facing numerous financial, ethical and practical challenges, and curators and collection managers are expected to use these opportunities to transform and adapt permanent collections and exhibition displays in order to cater to diverse audiences. The study of cross-cultural interactions during the so-called Renaissance period has led to the re-telling of narratives from more inclusive viewpoints by scholars and curators alike. By bringing stories of global encounters into the foreground, as well as analysing the circumstances that led to the acquisition of Renaissance objects, curators can engage in a more meaningful way with non-traditional audiences and local communities, while simultaneously emphasising the relevance of Renaissance collections in today’s world.

Our panel session will explore how curators can navigate the challenges of current curatorial practice, and how to facilitate meaningful interactions between Renaissance objects and audiences. We welcome proposals for papers that share examples of museum work that opens Renaissance collections to a wider public. We invite 15-minute papers that explore, but are not limited to, the following topics:

Contemporary responses to Renaissance objects
Decolonising/Decentering Renaissance collections (provenance and collecting history)
Community engagement projects
Educational programmes
Use of modern technologies such as VR, AR, AI, immersive experiences, video games
Foregrounding transcultural and transhistorical narratives

This session seeks to provide a platform to exchange ideas on how to reinterpret Renaissance collections. It also offers an opportunity for speakers to share personal experiences and insights into audience engagement.


Field(s) of Study:
Time Period: Early Modern (1450-1800)
Cultural Spheres: Renaissance
Theory / Practice: Curatorial Studies
Business of Art: Museum Practice
Field: Art History

Chairs:
Talitha Maria G. Schepers, Harvard Art Museums and Serenella Sessini, Victoria & Albert Museum

Apply to the New Scholars Program by September 5

Established in 2000, the Bibliographical Society of America (BSA) New Scholars Program strives to welcome researchers who have not previously published, lectured, or taught on bibliographical subjects by nurturing and promoting their scholarship. Each year, three New Scholars receive a cash award of $1,000, a $500 travel stipend, and the opportunity to present their work by participating in a two-pronged program:

Preceding the BSA’s Annual Meeting (held each January in New York City during Bibliography Week), each New Scholar presents a fifteen-minute talk that is based on their submitted proposal.
Expanded versions of the New Scholars’ papers are submitted to the Editors of the Society’s quarterly journal, The Papers of the Bibliographical Society of America (PBSA) for publication, subject to peer review. Scholars can expect to work closely with the Editors throughout the submission and review process.
In addition to the $1,000 cash award and $500 travel stipend, New Scholars may apply in one of the next two subsequent years for a stipend of the same amount to attend a second Annual Meeting. New Scholars also receive a complimentary one-year membership in the BSA, which includes a subscription to the PBSA.

Applications are due on September 5, 2023. For more details on the New Scholars program, including eligibility and application submission information, please visit the BSA website. The Society’s YouTube Channel features a playlist of past New Scholars presentations and an applicant information session.

Contact Information
Barbara Heritage
Chair, New Scholars Program

The Bibliographical Society of America

Contact Email
new.scholars@bibsocamer.org
URL
https://bibsocamer.org/awards/new-scholars-program/