Recent years have witnessed a growing interest in the aesthetic and conceptual features of multiples. Artist books, printed matter, photographs, maps, photocopies, small objects, magazine articles, posters, banners or intermedial combinations of such elements are characteristic for the expansion of art forms between the 1960s and 1970s. The workshop wants to explore the historical and conceptual significance of such “minor art practices” and highlight the artistic diversity by which the notion of the artwork was reformulated as multiple. Emphasis will be given to blendings of text and image, the intermingling of new and old reproduction technologies and relationships between diverse material and conceptual rhizomatic structures. Central interest applies also to the counter-economies of multiples, achieved by an expanded proliferation and strategic dislocations in different contexts of experience, when for example used as viral infiltration of contemporary visual culture and representational regimes of mass media. Other aspects of concern are forms of collective authorship and performative reception settings as well as questions of display and the role of galleries or other issuers for the production and distribution of artists’ publications and multiples.

The guiding questions of the workshop concern the following aspects:

HISTORY and FUNCTIONS
Are there relations to historical predecessors as for example Marcel Duchamp’s boîte-en-valise, édition MAT or Fluxkit? What was the impetus for experimentation with new artistic forms of photography, writing and publishing conceptual works in art magazines, selling boxes including objects and photographs as multiples? Does the artwork transform to communication tool or does it work as marketing object? In how far can seriality and the concept of affordable artworks for everyone be attributed to the idea of achieving a “democratization of art”?

PRODUCTION and DISTRIBUTION
How do production and distribution converge in artists’ publications and the experiment with new forms of accessibility, possession and ubiquity of artworks? What was the influence and interest of galleries and publishers like Leo Castelli, Arts Magazine, ARTFORUM, Multiples Inc. etc. to support or even foster the development of these production modes and material? How were collaborations among artists conceived of and what were their guiding intentions? Was the emphasis of “minor art practice” in the 1960s and 1970s a way of revealing the relations of power and a tentative strategy of resistance? Did these alternative production and distribution modes have an utopian function and could their signification of dominant representational art forms be understood as political?

PRESENTATION, RECEPTION and DISCOURSES
In which way and what contexts were multiples presented in the 1960s and 1970s and how are they displayed today? What is the conservation policy of such non-static artworks and how do the contexts of artists’ publications and multiples endure over time in the face of a changing art system and contemporary aspects of ubiquitous accessibility via electronic media? And in which way have the 1960s and 1970s experiments with the idea of the changeable and context-defined artwork contributed to the discourses on the work of art as non-static, collaborative and continuously information?

The workshop invites contributions by PhD-candidates whose study interest and PhD projects are associated with this wide topic.

To participate, please send a proposal of no more than 500 words for a 20-minute workshop presentation and a brief CV to Kathrin Barutzki at barutzki.kathrin@smail.uni-koeln.de.

The deadline for submission is January 22nd, 2016. Participants will be notified by the begin of February 2016.

The workshop will be held in English. Participants may receive a certificate of attendance. Cost of travel and accommodation cannot be covered.

The American Printing History Association (APHA) invites applications for the 2016 Mark Samuels Lasner Fellowship in Printing History for the study of printing history. An award of up to $2,000 is available for research in any area of the history of printing in any form, including all the arts and technologies relevant to printing, the book arts, and letter forms. Applications are especially welcome from those working in the area of American printing history, but the subject of research has no geographical or chronological limitations, and may be national or regional in scope, biographical, analytical, technical, or bibliographical in nature. Study related to the history of printing with a recognized printer or book artist may also be supported. APHA fellowships are open to individuals of any nationality. Applicants need not be academics and an advanced degree is not required. The fellowship can be used to pay for travel, living, and other expenses

Applications and supporting materials should be received by Monday, December 7, 2015, and the fellowship will be formally awarded at the annual meeting of the American Printing History Association in New York City, on Saturday, January 30, 2016. Full information and the application form may be found at:
https://printinghistory.org/programs/fellowship/.

Die Staatsgalerie Stuttgart sucht zum nächstmöglichen Termin eine Kunsthistorikerin / einen Kunsthistoriker für die Graphische Sammlung im Ressort Zeichnungen und Druckgraphik 19. Jahrhundert, Englische Graphik und Plakatsammlung.

Die Staatsgalerie Stuttgart und ihre Graphische Sammlung mit rund 400.000 Werken zählt zu den wichtigen Sammlungen in der internationalen Museumslandschaft. Schwerpunkte bei den Zeichnungen des 19. Jahrhunderts sind der "Stuttgarter Klassizismus", die Romantik sowie die Kunst Frankreichs. Im Bereich der Druckgraphik sind die Strähuber-Sammlung mit Frühlithographien, der umfangreiche Bestand an Daumier-Graphik sowie die französischen Illustrierten Bücher besonders hervorzuheben. In der Abteilung Englische Graphik des 18. und 19. Jahrhunderts befinden sich u.a. wertvolle Schabkunstblätter sowie Karikaturen von James Gillray. Die Plakatsammlung, 1973 vom Landesgewerbeamt an die Graphische Sammlung übergeben, enthält mit ihren seit den 1880er Jahren gesammelten Künstler-, Werbe- und Ausstellungsplakaten in Original-Drucktechniken ein breites Spektrum der Plakat-Kunst.

Wir suchen eine/n promovierten Kunsthistoriker/in mit entsprechenden Vorkenntnissen und einschlägiger Berufserfahrung sowie mit Interesse und Engagement vor allem an der praktischen Arbeit in einer Graphischen Sammlung. Neben den üblichen konservatorischen Aufgaben steht dabei vor allem die Bestandspflege im Vordergrund, d.h. die Erfassung der Werke und ihre Eingabe in die Datenbank (IMDAS), auch im Hinblick auf die Erstellung von Bestandskatalogen und Ausstellungen. Des Weiteren wird die Bereitschaft zur Übernahme von medien- und epochen-übergreifenden Ausstellungsprojekten erwartet.

Die Vergütung richtet sich nach dem TV-L, die Stelle (100%) ist auf zwei Jahre befristet.

Und erfüllen unsere Vorstellungen, dann freuen wir uns auf Ihre aussagekräftige Bewerbung, die Sie bitte auf dem Postweg oder in einer Datei digital bis 30. Oktober 2015 an die Staatsgalerie Stuttgart, Personalverwaltung, Postfach 10 43 42, 70038 Stuttgart oder online an bewerbung@staatsgalerie.de senden.

Ihre Fragen vorab beantwortet Frau Dr. Ina Conzen unter der Telefonnummer: 0711 - 47040 255
(Schwerbehinderte werden bei gleicher Eignung bevorzugt eingestellt).

Rhode Island School of Design recognizes diversity and inclusivity as fundamental to its learning community and integral to an art and design education. We welcome candidates whose experience in teaching, creative practice/scholarship, professional practice, service, or personal experience has prepared them to contribute to our commitment to diversity and excellence.

The Department of Printmaking in the Division of Fine Art invites applications for a full-time faculty appointment, at the rank of assistant professor to commence fall 2016.

POSITION SUMMARY The successful candidate will be responsible for teaching courses in a broad range of Printmaking graduate and undergraduate offerings and have an appreciation of historical print culture, as well as a deep understanding of the contemporary print world. S/he will be adept at incorporating both technical mastery and critical engagement in the classroom. Enthusiasm for teaching, advising, and mentoring a diverse population of students is essential, as is maintaining an active and recognized professional practice. Leadership potential within the department, the greater RISD community, and the global community of printmakers is required.

Our preeminent printmaking department includes full undergraduate and graduate programs, and encourages in-depth research and interdisciplinary learning across RISD’s 23 departments. Our students engage in internships, exchange programs and research projects, with many links to other institutions in the academic and professional world with which we maintain strong connections, We are deeply committed to hands on experience in traditional print media, and because we know that printmakers have always been at the forefront of developing and experimenting with the newest technology, we are strongly committed to the exploration of all forms of image production and the transmission of ideas through any and every available means of communication. If this sounds like a program you would like to be a part of and help to lead into the future, we encourage you to apply.

The full-time teaching load is six courses a year, comprised of a combination of sophomore through graduate-­level courses. Department heads and Graduate program directors are provided course relief. In addition to teaching, full-time faculty are expected to maintain a professional practice, serve on college committees, advise students, participate in curriculum development and other departmental activities and projects, and contribute to the vibrancy of the intellectual life of the college.

Rhode Island School of Design is an undergraduate and graduate college of art and design with approximately 2,400 graduate and undergraduate students. Full Time Faculty are members of the RISD Full Time Faculty Association/Union, part of Rhode Island’s branch of the NEA (National Educational Association) and governed by a Collective Bargaining Agreement. RISD supports faculty professional practice with sabbaticals, pre­critical review leave, conference funds, and professional development grants. For more information about RISD and to apply online, please visit www.risd.edu/jobs.

MFA or equivalent professional qualifications; demonstrated teaching excellence; active exhibition record; and evidence of engagement and leadership potential in printmaking communities within and outside academia.

Applications should include a letter of intent, curriculum vitae, teaching philosophy, names and contact information of three references, images of professional and student work (maximum 20 images for each), and evidence of teaching excellence, including syllabi. Your teaching philosophy should speak to your ability to work effectively with a student population that is broadly diverse with regard to gender, race, ethnicity, nationality, sexual orientation, and

The ubiquitous presence of prints in everyday life as well as the transformation of printmaking from a reproductive to an increasingly experimental artistic medium brought about dramatic changes in collecting the graphic arts beginning in the nineteenth century. As artists began to experiment with the modern fine art print and the art market developed, publishers and galleries provided new opportunities for artists and collectors, and what was formerly largely an aristocratic practice became accessible to a wider range of social classes. Increasing numbers of enthusiasts began to see prints as an affordable means to amass a sophisticated collection of contemporary art. In addition, collectors acquired not only art prints but also posters, books, and diverse ephemera. From the late nineteenth century onwards, the interest in collecting prints was supported by a network and an emerging art market that included specialized dealers who were often also publishers, and specialized publications—both journals and reference texts that catalogued and explained aspects of the graphic arts.

This panel seeks to explore various aspects of print collecting from the nineteenth century to the present, including collecting practices; types, social classes, and individual collectors; collecting by museums; and the wide range of printed materials collected from fine art to the everyday, including, for example, advertising posters, political posters, and caricatures.

Papers may address any aspect of print collecting, including (but not limited to) collecting practices, the changing market, notable collectors and collections, journals for collectors, marketing, reception, museums collecting prints, and the historiography of relevant texts. We invite papers on case studies, and papers that integrate history, analysis of discourses, theoretical issues, and the social history of collecting.

Please send abstracts of no more than 250 words and a cv to both organizers (britanys@gmail.com and ruth.e.iskin@gmail.com) no later than December 7, 2015.

Convenors:
Benedicte Coste (University of Bourgogne-Franche-Comté, France)
Galway, Monday 22-Friday 26 August
Elisa Bizzotto (University of Venice, Italy)
Sophie Aymes (University of Bourgogne-Franche-Comté, France)

The seminar will discuss intermedial practices, the mutual influence of artistic practice and textual production, as well as the dual meaning of impression as a mode of reception and of expression. Papers will examine impression both as theme and trope in literary texts and art criticism in connection with the material characteristics of media in which writers/artists chose to express themselves. They can also address how the shift from late Victorian aesthetics to modernist experimentation was negotiated in this field.
The time period considered here spans four decades which saw the advent of photomechanical process and the revival of printmaking as an “original” mode of expression based on the premium granted to individual impression as autographic response and to the trope of the print as imprint on a medium and/or on the mind.

Please send your proposals to the three convenors by 28 February 2016: benedicte.coste@u-bourgogne.fr
bizzotto@unive.it
sophie.aymes@u-bourgogne.fr

Joint Annual Renaissance Early Modern Postgraduate Symposium

KEYNOTE SPEAKERS:
Anthony Griffiths (Oxford Slade Professor, former Keeper of Prints and Drawings at
the British Museum and Co-Founder of Print Quarterly)
Dr Mark McDonald (Curator of Prints at the Metropolitan Museum of Art)

CALL FOR PAPERS
Traditionally, the history of printmaking has fallen in the space between art history and the history of the book. Often ‘reproductive’ and multiple in nature, prints have long been marginalized in art historical scholarship in favour of the traditional ‘high’ arts. The inherent complexities in the manufacture and sale of print, often involving multi-faceted networks of specialist craftsmen, artists, publishers and sellers, has also led to much confusion. Not knowing how prints are made has affected our ability to understand the medium and its aesthetic qualities. However, recent scholarship has opened up new avenues for placing prints in Early Modern Europe. From the techniques applied in the making of prints to the individuals involved in their production, distribution and use, current research is continuing to shape our understanding of this complex field.

This conference aims to showcase new developments in the study of Early Modern prints, challenging and developing traditional approaches. We are looking for papers that address a wide variety of issues and plan, over the course of the two-day conference, to have a series of panels devoted to different themes. Some issues to consider include, but are not limited to, the following:

 the question of the ‘reproductive’ print and the idea of originality in printmaking
 the print in sixteenth and seventeenth-century art criticism
 the development of new genres of print
 the question of the ‘popular’ print and the place of cheap prints on the early modern market
 the relationship between word and image in print
 the social uses of prints, in collections and other environments
 seriality and sequencing in prints
 the role of prints as transmedial agents, triggering the production of the same composition in different media
 techniques and innovations in the making of prints
 networks and relationships behind the production and sale of prints; the notion of collaboration
 colour: coloured printing, hand-coloured prints and processes of translating colour into in a monotone linear medium

The conference will include a pop-up display in the Courtauld Gallery’s print room, curated for the occasion. This will provide the opportunity to engage directly with objects related to the themes discussed.

We invite papers from both established and emerging scholars in universities, museums and galleries. Our aim is to provide a platform for sharing approaches and developing future collaborations between scholars working with prints. For this reason, we are also willing to consider papers delivered in French, Italian and German. However, speakers must provide an English translation of their text and be willing to answer questions and contribute to discussions in English.

Unfortunately, funding for speakers is not available and speakers from outside London are encouraged to apply to their institutions for subsidies to attend the colloquium.

Abstracts for 20-minute papers, not exceeding 250 words should be sent with a brief academic CV (100 words) by 22 November to: placingprints@courtauld.ac.uk

Juror: Dennis Michael Jon, Associate Curator of Prints and Drawings at the Minneapolis Institute of Arts.

Eligibility: Open to all artists 18 and older. Submissions must be original works on paper, created within the last two years, including but not limited to, digital, intaglio, lithographic, photographic, relief, serigraphic and stencil processes. Monotypes are also eligible but reproductions of pre-existing works are not.

Display: Each selected print will be framed by the Bradbury Art Museum during the exhibition. In order to ensure your print will fit into the frame, each print must arrive matted in or mounted on a horizontal or vertical, 16 x 20, 20 x 24, 24 x 24, or 24 x 32 inch white or off-white mat.

Works Accepted: Results of the selection process will be emailed to all entrants the second week of November, 2015. Each print selected for exhibition must be received by the Bradbury Art Museum no later than December 4, 2015.

Images and Catalog: Each artist may submit up to three prints, represented in a digital format (jpeg preferred) with a resolution of a minimum of 300 dpi at 4 x 5 inches or 1200 x 1500 pixels. The digital files must be print quality as all works selected for exhibition will be reproduced in a full-color catalog. By entering this exhibition each artist grants consent for the use of submitted images for reproduction in the catalog, for publicity and for educational purposes.

Purchase Awards: Will be made at the discretion of the juror. Each artist receiving an award will have their artist’s statement of 100 words or less printed in the exhibition catalog. Typically more than half of the show is purchased for the ASU Permanent Collection of Art and by the viewing audience.

Entry Fee: A $30 (nonrefundable) entry fee permits each artist to submit up to three prints.

Sales: The sale of prints in the exhibition will be promoted. A commission of 25% will be retained from the sale price. No commission will be retained for purchase awards.

Email: dnspe@astate.edu
Phone: 870 972 2567
Website: www.bradburyartmuseum.org

The collecting of graphic arts from a historical perspective
Research and digitisation in dialogue

Organisers: Herzog August Bibliothek in Wolfenbüttel, Herzog Anton
Ulrich-Museum in Braunschweig, University of Göttingen
(Georg-August-Universität Göttingen) - Kunstgeschichtliches Seminar und
Kunstsammlung, University of Marburg (Philipps-Universität Marburg) -
Deutsches Dokumentationszentrum für Kunstgeschichte - Bildarchiv Foto
Marburg

Location: Herzog August Bibliothek in Wolfenbüttel, Herzog Anton
Ulrich-Museum in Braunschweig
Dates: 20-22 October, 2016
Length: 3 days
Languages: German and English
Deadline for submission of paper proposals: 30 November 2015

The idea of creating a digital gallery of prints and drawings has in
recent years become a reality on a global scale – for example the
virtual gallery of the Herzog Anton Ulrich-Museum in Braunschweig and
the Herzog August Bibliothek in Wolfenbüttel
(www.virtuelles-kupferstichkabinett.de). A collaborative project of
these two institutions, along with the University of Marburg -
Bildarchiv Foto Marburg and the University of Göttingen, is currently
linking the online publication of prints and drawings from the
collections of Braunschweig and Wolfenbüttel with iconographic indexing
and academic research into the early modern collecting of prints.

The conference will take as its starting point two key questions. How
can research into the history of art collecting and digital indexing
work together to form a mutually beneficial partnership? How can
indexing adapt to the demands of the research community?

Papers on the following subjects and case studies will be welcome:

• The theory and practice of collecting in the early modern period
• Case studies: religious and secular orders, private individuals,
artists and universities as collectors of graphic arts
• Networks and trade structures: art agents, dealers, advisers
• The indexing and publicising of graphic collections: from the
‘Recueil’ to the online database
• How can indexing and online publication adapt to the demands of
the research community?
• The functionality and organisational systems of graphic collections
• The research and documentation of provenances

We invite proposals for 20-minute papers devoted to the subjects
mentioned above.

Proposals (maximum of 500 words) with the title of the paper,
institutional affiliation (if applicable), postal and email address and
a short CV can be sent up to 30 November 2015 to: vkk@hab.de. The
conference programme will be published in early 2016 on the conference
website.

Organized by the Department of Art and Art History at the University of Utah, this competitive juried regional exhibition will showcase contemporary works on paper by artists throughout the Intermountain West. The exhibition will take place in the Gittins Gallery on the campus of the University of Utah, Salt Lake City, Utah.

Eligibility & Media
All artists (18 years and older) residing in AZ, CA, CO, ID, MT, NM, NV, OR, WA, WY and UT are eligible to enter. Original works in Book Arts, Digital Prints, Drawing, Photography, Printmaking (including Monoprints) and 3D Paper Works are eligible. Works must be completed in the last two years (Students and employees of the University of Utah are ineligible to apply).