The UCLA Grunwald Center for the Graphic Arts at the Hammer Museum, a significant collection of over 45,000 prints, drawings, and photographs dating from the Renaissance to the present, is pleased to announce a paid fellowship opportunity for the 2016-2017 academic year. The fellow will be responsible for researching and cataloging selected areas of the collection in preparation for online collections projects. Additional responsibilities may include giving class presentations and gallery talks, answering queries about the collection, and interacting with scholars, students, and the public on matters concerning the collection.

Interested candidates should apply by sending a resume and cover letter to resumes@hammer.ucla.edu and including “Grunwald Curatorial Fellowship” in the subject line. The application must be received by May 1st. Complete details are listed below.

Term length and compensation:
The fellow will work 32 hours a week for 8 months beginning September 2015. The selected candidate will receive a $30,000.00 salary. The fellow may be eligible for an additional travel and research allowance depending on available funds.

Cataloging Project Description:
The Fellow will be working on extended research projects devoted to one or more of the following collection areas:
• Approximately 160 Old Master drawings (including French, German, Flemish, and Italian examples from the 15th through 18th centuries)
• Approximately 1600 ornament prints by French, German, and Italian artists spanning the 16th through the 18th centuries
• Approximately 3,000 modern and contemporary French, German, and American prints, including substantial holdings of German Expressionist prints formerly belonging to Fred Grunwald as well as works by former students and faculty of the UCLA Art Department

Desired qualifications:
The ideal fellowship candidate will be an advanced graduate student in art history or recent PH.D. who has experience with or knowledge of works on paper derived from coursework, independent research, prior museum experience, or some combination of the above. Ability to read German is required; additional reading knowledge of French preferred. Some familiarity with digital humanities research is welcome but not required. The ideal candidate will be organized, meticulous, and capable of working successfully both independently and in collaboration with others, and will possess a demonstrated ability to conduct independent scholarly research.

Application materials and procedure:
Please send a resume and cover letter to resumes@hammer.ucla.edu by May 1st, 2015. Include “Grunwald Curatorial Fellowship” in the subject line. Interested applicants should directly address their experience with and interest in working with prints and drawings and their goals for undertaking this fellowship, and explain how the specified cataloging project areas relate to their research interests. Applicants selected for an initial interview will be notified by May 15th.

Assistant Curator, Department of Modern and Contemporary Drawings (Full-time position)

The Morgan Library & Museum invites applications for the position of Assistant Curator of Modern and Contemporary Drawings. This position participates in all departmental activities, including the organization of exhibitions, research on the permanent collection and potential new acquisitions, and cultivation of donors. The position reports to the Curator of Modern and Contemporary Drawings. Job responsibilities will include, but are not limited to:

- Participating in all phases of exhibition organization (including drafting proposals and loan letters, writing catalogue entries and other didactic materials, giving VIP tours and docent training)

- Researching works in the permanent collection and maintaining information up-to-date in collection database

- Researching and writing about potential gifts and other acquisitions

- Assisting in relations with donors, patrons, and collectors (including planning and organizing events for Modern and Contemporary Collectors Committee)

- Hiring and supervising interns

- Fielding and responding to inquiries from the general public and scholars

- As needed, assisting with daily administrative tasks

- Occasionally, participating in the planning and organization of scholarly events organized by the Morgan’s Drawing Institute


Qualifications

- MA in art history (Ph.D. preferred), with specialized knowledge of 20th and 21st-century art

- Minimum two years of museum and exhibition experience

- Knowledge about the field of drawings

- Excellent written and oral communication skills

- Strong interpersonal and organizational skills

- Reading knowledge of a foreign language a plus

- Able to work on a computer for extended periods of time, and lift moderately heavy boxes

Compensation: Commensurate with experience

To apply: Please send letter of interest, CV, writing sample, and names of two references to moderndrawingsjob@themorgan.org. Application deadline: April 25, 2016

The Institute for Advanced Study is a community of scholars focused on intellectual inquiry, free from teaching and other university obligations. Scholars of all nationalities are offered membership for up to a year, either with or without a stipend. Extensive resources are provided including office, library, restaurant and housing facilities and support services. The School of Historical Studies’ principal interests are the history of western, near eastern and Asian civilizations, with emphasis upon Greek and Roman civilization, the history of Europe (medieval, early modern, and modern), the Islamic world, East Asian studies, art history, the history of science and philosophy, modern international relations and music. Residence in Princeton is required. Members’ only other obligation is to pursue their own research. Eligibility requirements: a Ph.D. and substantial publications. Further information via School's web site, www.hs.ias.edu, or email us at mzelazny@ias.edu

CFP: Collaborative Printmaking Across Cultures and Times
Association of Print Scholars session at CAA 2017
Chaired by Jasper van Putten, Harvard University
Deadline for submissions: March 31, 2016

Printmaking, from its earliest to its most recent expressions, has generally been characterized by collaboration. This panel explores the impact of collaboration on the artistic practice of printmaking across various cultures and times. In the West, renaissance printmaking was characterized by divisions of labor that designated specific tasks of professionals. Designers, woodcutters, engravers, printers, and publishers indicated their respective role on the prints they helped produce with designations such as invenit [invented], delineavit [traced/delineated], or excudit [printed/published]. The production of Japanese woodcuts in the nineteenth century was similarly defined by collaboration and specialization. Generally, publishers commissioned drawings from artists, which were transferred to wood, cut, and printed by specialized craftsmen on behalf of the publisher. Collaboration also characterized much of the printmaking in the modern period, despite the emphasis on artistic individuality in this time. Artists like Édouard Manet, Pablo Picasso, and Robert Rauschenberg produced some of their most celebrated prints in collaboration with master printmakers. More recently, digital social networks have opened up completely new venues for artistic collaboration. As technology has made sharing of images and ideas faster and easier than ever before, it stands to reason that artistic collaboration also changes.

Scholars have studied the more famous collaborations in the history of printmaking in great detail. Still, the impact of collaboration on artistic practice is often overlooked. Blockbuster shows especially tend to focus on famous artists and neglect the vital contributions of other individuals. How did the contributions of craftsmen, patrons, publishers, and agents impact the prints they helped produce and disseminate? How was their relative input valued and remunerated? To what extent can we interpret prints as the products of networks of different makers? Answers to such questions will differ from time to time and from place to place. This panel seeks to further our understanding of collaborative printmaking by seeking submissions engaging these issues from any culture and era. Side-by-side, these papers will highlight commonalities and differences with the aim to obtain unexpected insights. Especially welcome are contributions that make use of network theory to account for the total range of actors involved in collaborations. Also of special interest are papers that engage the role of digital tools and social networks in facilitating collaborations in contemporary printmaking.

Please send an abstract of 250 words or less and a CV to Jasper van Putten (jaspervputten@me.com) and info@printscholars.org by March 31, 2016.

The Studio Immersion Project (SIP) at The Elizabeth Foundation for the Arts/ Robert Blackburn Printmaking Workshop is an intensive 3 month studio fellowship designed to immerse artists in the world of printmaking. SIP Fellows will acquire new techniques and build upon existing skills. Artists, from all media, interested in making printmaking a regular part of their creative practice are invited to apply. All applications are due by 13 March.

SUMMER SESSION: JUNE 7 - SEPTEMBER 4, 2016

SIP Award Description
1 year EFA RBPMW membership
3 months unlimited EFA RBPMW studio access
Monthly stipend
Materials stipend
6 session SIP Orientation Program
Includes: In depth studio orientation, basic intaglio, lithography, screenprinting, relief and monotype techniques.
3 EFA RBPMW classes picked from Summer Class Schedule
Group exhibition in 20|20 Gallery the summer after fellowship year
Scheduled project consultation with EFA RBPMW staff printers
3 month material & supply storage
Access to exhibition and portfolio exchange opportunities through EFA RBPMW membership

Selection Process
Selection is based on artistic merit determined by an independent three person interdisciplinary panel in a blind jury. Jurors will be made public following the announcement of selected participants.

SIP Eligibility
A SIP fellowship is ideal for artists with a developed studio practice and career experience. Prior printmaking experience is not required. Artists working in other media are strongly encouraged to apply. Applicants cannot have an affiliation with any institution as a full or part time student at the time of application. Applicants cannot have received any other fellowship from EFA RBPMW in the past 2 years.

Eligibility is limited to artists living and working in New York State. Artists must be able to spend a minimum of 20 hours working in the studio each week for the three month SIP period. Artists must be able attend all sessions of SIP Orientation.

THERE IS NO ENTRY FEE.

IFPDA Foundation Curatorial Internship in Prints – Summer 2016

The Chrysler Museum of Art in Norfolk, Va., has been awarded a grant from the International Fine Print Dealers Association (IFPDA) Foundation to fund a curatorial internship for the summer of 2016. The intern will assist the Museum’s curatorial team in studying, cataloguing, and exhibiting works from its collection of American and European fine art prints. This is an exciting opportunity for a student to gain professional training and hands-on experience, in preparation for a future art museum career.

Internship Overview:

Under the supervision of the Curator of American Art, the intern will conduct independent research to catalogue works from the Museum’s collection of works on paper and design a thematic rotation of prints for gallery display. Additionally, the intern will work with conservators to assess object condition and potential needs for improved housing. The intern will also learn to use the Museum’s collections management database (TMS), build object files, and suggest updates to the online collections catalogue.

The internship requires a minimum commitment of 3 days/week [or 18 hours/week] for an 8-week period between June and August 2016. The intern will receive a stipend of $2,500.

Preferred Qualifications:

• Art History graduate student, advanced undergraduate, or recent graduate from an accredited four-year college or university. Applicants in Studio Art, American Studies, Museum Studies, or Library Science with demonstrated interest in the history of printmaking and in museums are also eligible.
• Record of coursework in 19th and 20th century American and European art.
• Strong skills in research, organization, and writing/editing (including Microsoft Office proficiency).
• Reading knowledge in French, German, or Italian preferred.
• Past experience in cataloguing, inventory procedures, or database entry will be a plus.

Application Requirements:

• Cover Letter (1-2 pages), including reference to specific coursework or past museum experience relevant to this opportunity. Explain the value of this internship to your studies and career plans.
• Current Résumé / C.V. (including contact information).
• Academic transcript.
• Writing sample (5-10 pages).
• Name, title, institution, and contact information (telephone and email) for 2 professional references (faculty, academic advisor, or supervisor).

How to Apply:

Send all application materials by email with the subject line “IFPDA Internship” to Curatorial Coordinator Debbie Ramos: dramos@chrysler.org. Candidates selected for interviews will be contacted to arrange an appointment (or telephone appointment).

Application Deadline: All applications must be received by 5:00pm EST on Friday, 8. April 2016.

Website: http://www.chrysler.org/our-collection/internship-offered-work-with-p/

The annual AEPM conference will be held at the Nederlands Steendrukmuseum (Dutch lithography Museum) in Valkenswaard (Netherlands) from 3-5 November 2016.

It is being jointly organised with the IADM (Internationaler Arbeitskreis für Druck- und Mediengeschichte).

The theme of the conference is:

From stone to chip
Lithography. Few people know what it is, and even fewer know how it works. Yet we are permanently surrounded by documents and objects printed by this long-established process. Introduced in the early years of the 19th century, lithography mutated in the early 20th century to become offset lithography which went on to replace letterpress as the principal industrial printing process.

Despite its now venerable age and its current position as the predominant printing process, lithography occupies a relatively minor position in the literature of printing history as well as in most printing museums. Why so? Should it be more present in printing museums? And if so, what are the perspectives for research on the history of lithography and for the exhibition and mediation of the machines and products of lithography aAEPMnd the major role which this technique has played in the development of graphic communications since the beginning of the 19th century?

The AEPM and IADM are calling for papers for a joint conference which will be held in the superb Nederlands Steendrukmuseum in Valkenswaard (NL) in November 2016. The conference will address various aspects of the history of lithography from Senefelder to the present day, and examine ways in which this major artistic and industrial process might occupy a more important place in printing museums.

Communications are invited on themes such as:
– the development and impact of lithography as an artistic medium,
– lithography and illustration,
– contemporary uses of lithography as a means of artistic expression,
– development and impact of lithography as an industrial process,
– social aspects of the introduction of lithography,
– applications of photography to lithographic printing,
- lithography and the democratisation of printed images,
– metal printing and the origins of offset lithography,
– offset lithography and the post-war modernisation of the printing industry,
– industrial applications of lithography such as advertising and packaging,
– further development of Senefelder’s invention in the 21st century such as computer chip manufacturing and printed electronics,
– building, maintaining and exploiting lithographic collections,
– exhibiting and explaining lithographic processes in a museum environment,
– situating lithography within 19th and 20th century museum scenarios,
– challenges to the development of lithography as an object of mediation.

Proposals dealing with the history of lithography within the context of the broader issues raised by the conservation and mediation of modern communications technologies would also be welcome.

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

It is hoped that the conference will also provide an opportunity to bring together museums, people and ideas with a view to discussing the possibility of producing a travelling exhibition about lithography in 2018, on the anniversary of the publication of Aloys Senefelder’s manual of lithography.

Submissions

Abstracts of no longer than 250 words should be submitted along with a brief biography to:
muench@deutsches-zeitungsmuseum.de and chair@aepm.eu
by 15 April 2016.

Speakers will be allocated 20 minutes in which to present their papers.

Programme organisers
Dr Roger Münch (IADM, Deutsches Zeitungsmuseum)
Alan Marshall (AEPM)

The conference is supported by the Association of European printing museums (AEPM), the Internationaler Arbeitskreis für Druck- und Mediengeschichte (IADM) and Nederlands Steendrukmuseum.

The Detroit Institute of Arts (DIA) seeks a Curator to serve as a full-time member of the Prints, Drawings and Photographs (PDP) Department. The candidate must have expertise in European Old Master prints and drawings (1300 -1800) and a general knowledge of Western art up to the present. The DIA’s collection of prints and drawings comprises more than 20,000 objects, with strength in European and American works. It includes historically significant drawings, such as Michelangelo’s Studies for the Sistine Chapel, in addition to other important works by Barocci, Guercino, Tiepolo, Bloemaert, van Goyen, among many others. The DIA’s print collection has in-depth holdings by Dürer, Manet, Redon, and Rembrandt, as well as rare works by Degas, including his monotype Russet Landscape.

Under the supervision of the Head of PDP, the Curator will oversee all aspects of the collection of works on paper, including prints, drawings, posters, and artists’ books. Responsibilities include, but are not limited to, organizing and overseeing special permanent collection exhibitions; recommending new works for acquisition; and co-leading and assisting with the DIA’s Friends of Prints, Drawings and Photographs (FPDP), the department’s main auxiliary group.

ESSENTIAL JOB FUNCTIONS

Compile information pertinent to the identification, documentation, or authentication of works of art and maintain appropriate object records in accordance with DIA data and archival standards
Maintain current knowledge of the art market in order to recommend objects for the permanent collection and develop acquisition proposals
Conduct original research on the museum’s art collection and publish in scholarly journals, catalogues, and books
Collaborate with the Collections Management staff in installing prints and drawings
Work in close collaboration with the Conservation Department to regularly assess the conservation needs of the collection
Develop familiarity with the DIA’s Collections Management Policy and assist the Registrar’s Department in producing supporting documentation for accessioning and deaccessioning works of art
Serve as a designated museum courier when necessary
Work collaboratively with educators in the Learning and Interpretation Division to develop and produce interpretive strategies and accompanying materials for permanent gallery projects and special exhibitions, as well as conduct training for gallery teachers and docents
Participate in the day-to-day administration of the department, which includes responding to scholarly and public inquiries about the collection
Act as staff liaison to the FPDP and assist with organizing its activities and programs
Develop enrichments, including presentations and tours for members and museum visitors, to facilitate community outreach
Foster and maintain good working relationships with existing and potential patrons, trustees, and museum colleagues across the country and abroad, as well as with the academic community, art dealers, and collector
Work effectively with various museum departments to ensure that content related to prints and drawings is accurately conveyed and represented in all museum print publications and other media
Represent the museum in professional societies, and at symposia and other scholarly meetings and events.

QUALIFICATIONS

Ph.D. in Art History preferred, with specialization in Old Master prints and drawings

At least seven years of experience working in a university or museum setting

Familiarity with the activities and operations of a large art museum

Strong record of research and scholarship, with proven experience in organizing exhibitions and producing publications of high quality

Exceptional writing skills and public-speaking ability across diverse audiences

Proven ability to work effectively and positively with other professional staff in a highly collaborative environment

Proficiency in at least one foreign language

Terminus: SGCI 2017
March 15 - 18, 2017

Before Atlanta, there was "Terminus". In 1837, a stake marking the founding of Terminus was driven into the ground, called the Zero Mile Post, which was the nexus of the Western and Atlantic Railroad. This became the point from which the city of Atlanta emerged. As a transportation hub, the rail lines became symbolic of paths taken or traveled and their intersections became connecting points of opportunity.

The 2017 SGCI Conference in Atlanta will showcase the rich printmaking community in our area and celebrate its long history. The conference will focus on the duality of the terminal point as a place for arrivals and departures, beginnings and endings. Our railroad history serves as a metaphor for the timeline of printmaking traditions; traversing enduring classicism and bringing us to our current location with broadly expanded practices. Terminus will nurture critical discourse on the historic and future relevance of printmaking, technical innovations, and the ability to engage with contemporary issues and social change.

Call for Panels, Portfolios & Papers
Schedule

MARCH 4, 2016
Tier 1 deadline is for 90-minute Panel Sessions (topic/organizer), Exchange Portfolios (topic/organizer), and INKcubator leaders.

MARCH 25, 2016
Panel and Portfolio Organizers are selected, and announced on website (Call to be posted before the Portland conference)

MARCH 30, 2016
Call for Tier 2: Panelists, Exchange Portfolio participants, Demonstration proposals

JUNE 1, 2016
Tier 2 deadline is for panel and portfolio applicants. Organizers of the panels and portfolios will screen the participants following this deadline.

JULY 1, 2016
Notification to participants of panels and portfolios

SEPTEMBER 1, 2016
Materials (abstracts, biographies, photos) due for conference website and program

The Lower East Side Printshop residency program provides free studio space for emerging artists to develop new work and explore printmaking. The application deadline for the Keyholder Residency Program is 1 March 2016 for residencies beginning April 2016. Artists of all disciplines are encouraged to apply; printmaking skills are not required.