The Saint Louis Art Museum has an opening for a Senior Research Assistant and Study Room Manager in the Department of Prints, Drawings and Photographs.

QUALIFICATIONS: MA in Art History or related field required. Experience in art historical research techniques and knowledge of the history and techniques of prints, drawings, and photographs required. Knowledge of standard museum practices, cataloguing and collections databases, excellent research and computer skills, verbal and written communication skills, and attention to detail and accuracy required. Ability to work independently and collaboratively with museum staff and the public, and to employ strong interpersonal and logistical skills associated with complex, multi-task projects. Foreign-language proficiency preferred.

Artists working in various printmaking techniques, photo-processes, book arts and digital media including video production can apply to become an Artist-in-Residence at Kala Art Institute. Residency applications are accepted online three times per year. Artists who apply for residency should be familiar with at least one of the media offered at Kala. Considerations for acceptance are conceptual creativity and technical knowledge. Kala encourages use of both traditional and new technologies, and their admixture.

A four-week opportunity that allows artists to work in a beautiful printmaking studio in Diemelstadt-Rhoden, Germany. Two artists will be chosen to work at Atelierhaus Beisinghoff, less than an hour away from Kassel, Germany.

Accommodation is free of charge and provides artists with an apartment, shared bath, library, kitchen, living room, and garden. The resident pays for travel costs, food, and materials. Artists prepare lunch together.

Atelierhaus Beisinghoff offers access to: (1) Letterpress studio with Korrex flatbed press, Garamond, Helvetica, Futura, Wallau, and some Bodoni Antiqua typefaces; (2) Intaglio studio with Plankenhorn etching press for paper up to 132 x 180 cm (52 x 70 in) and Kniehebel toggle press 32 x 42 cm, for smaller etchings and woodcuts.

The Old North Church, in the heart of Boston’s historic North End, seeks applicants for seasonal, part-time positions (through November) on our education staff. Applicants must be available for weekends and holidays. Interpreters will work as part of a team in Captain Jackson’s Historic Chocolate Shop and The Printing Office of Edes and Gill, which operate in the Clough House on the Old North Campus. The interpreter would be responsible for educating visitors on the history of chocolate and Colonial printing. Interpreters will conduct chocolate making demonstrations and operate a reproduction English letterpress placing chocolate and printing in a historical context. Interpreters will also be responsible for retail operations for the chocolate shop and colonial print shop. Interpreters will be responsible for welcoming visitors, providing information on the Old North Church, the Freedom Trail, and the City of Boston, maintaining the cleanliness of the shops, restocking supplies and merchandise, packaging of printed goods and shop merchandise, cashiering, and soliciting voluntary donations. Interpreters will be required to wear period clothing, but not perform first-person interpretation.
Qualifications:
Ideal candidates will have excellent public speaking skills; exhibit a mature and outgoing personality; have an interest in education and/or history; and possess outstanding customer service skills. He/she must be able to work in a fast moving, team environment and manage several tasks simultaneously; should enjoy engaging with members of the public; and display a positive attitude towards visitors and staff members alike. Ideal candidates will have previous retail experience including cash handling and familiarity with point of sale systems. This position requires long periods of standing and ability to perform a basic demonstration.
How To Apply:
Please email your resume and letter of interest to Pamela Bennett, Director of Retail, at pbennett@oldnorth.com. The Old North is an Equal Opportunity Employer. Only applicants being considered for an interview will be contacted
Apply by:
July 31, 2016
Salary:
$11.00/hr

January 30-March 4, 2017
CALL FOR ENTRIES, due by 10/30/2016

We are looking for artists to show us what is current, important and relevant in printmaking today! In the 21st century prints may include unique and innovative combinations of media encompassing 2D, 3D, time-based work, installations and other new technologies. The exhibition seeks work that expresses contemporary issues with a well developed aesthetic, shows printmaking’s current innovations, and is also a reflection of its history.

Entry format:
Online: Use interactive online form for submission and payment. www.connect.csuchico.edu/Turner-EntryForm OR Snail mail: Print/copy/download form, fill out, include CD or thumb drive in file format described. Include check or Money Order made payable to CSU, Chico University Foundation #06479. SASE required for return of submission disk or drive.
File format for ALL entries is JPEG, not to exceed 1600 pixels in any direction, resolution of 150-300ppi.
Electronically rename the images with artist’s last name, title, technique and # matching entry form, e.g. Brown
arrow woodcut1.jpg. Time-based work should identify program used and must be able to play on a Mac.

Information/Terms: artist pays all shipping; US Postal, UPS, Fe d EX preferred. Accepted artists notified by November 30, 2016.

Entry Fee:
$25 per each individual entry
Cash prizes and Purchase awards up to $3,000.00,
Best in Show Friends Prize-solo exhibition in 2018.

Snail mail address:
Janet Turner Print Museum National Print Competition
California State University, Chico
400 W. 1st Street, Chico, CA 95929-0820


Juror: Erin Sullivan Maynes
Erin Sullivan Maynes is Hoehn Curatorial Fellow for Prints at the University of San Diego, California. She received her Ph.D. from the University of Southern California in 2014. She is a specialist in the graphic arts, with a focus on prints and print culture of the 19th and 20th century, especially in Germany. Her dissertation, Speculating on Paper: Print Culture and the German Inflation, 1918-1924, considered the boom in graphic production that occurred during the most intense period of inflation in early Weimar-era Germany.


Juror’s Thoughts:
“Contemporary printmaking is less transparent in terms of process—you cannot just look at a print anymore to know how it is made. This challenges us to again redefine what print is at this moment and what it can be in the future. I would consider the connections between currency and print that resonate in a contemporary context as follows: the most literal is shared materials, paper and ink, and shared character as a multiple that nevertheless has limits put on its reproduction (an edition for the print, what a government is willing to print to keep prices stable in the case of money). Regarding material and edition, an alchemical transformation of material happens with both fine art and money—both take on a value far exceeding the value of their materials by virtue of a conceptual transformation rather than a material one. This conceptual link to value is necessary for both paper money and for the print to retain value and status, to be considered something more than pictures printed on paper.”

This is a collaborative, six-month residency program open to U.S. and international artists of all artistic backgrounds and career levels to create new complete body of work through exploration of non-toxic contemporary printmaking. The Residency will include an education in printmaking, critiques and an exhibition of the works produced during the residency. The opportunity to sell your prints and the Affordable Art Fair, New York, as part of our booth at this popular exhibition venue.

Residency dates are January - June 2017
Applications are evaluated by a rotating committee of artists, curators and art professionals based on the quality of submitted artwork and are awarded to two artists annually. Artists based in the New York City area and without access to a studio space are encouraged to apply.

The Residency Program includes:

- $500 stipend
- Access to a shared etching press on a 2,000 square foot studio & gallery space
- Consultations with master printers
- Flat file storage space during term of residency
- Two (2) free weekend classes in printmaking
- 20% discount on all additional classes
- Inclusion in the Julio Valdez Studio permanent collection flat files, which are regularly reviewed by curators, dealers and private and corporate collectors
-Exhibition of completed works at our Project Space gallery in our annual Artist-In-Residence exhibition.

Eligibility

- Students enrolled in full-time degree programs at the time of the residency are not eligible to apply.
- Artists without access to a studio space are encouraged to apply.
- Artist must reside or be able to stay in the New York metro area during the time of the residency. Although the studio residency award does not include housing, we can assist international and out of the metropolitan area applicants in securing affordable housing for the residency period. Please let us know if you will be needing a place to stay.


Application Instructions / Public Contact Information

Application Requirements:
- 8 digital images of recent (past 2 years) work. Images must be a jpg, 200dpi, RGB mode and a maximum size of 800 x 800 px. Label each image as: "Last Name_First Name_#" (ex. Smith_Pat_01.jpg).
- Image list: your name, work title, year, medium, and dimensions
- Resume and one paragraph artist statement in PDF format
- Names and contact information of two references
- Application fee of US $30, payable via Paypal to:
valdezstudioresidency@gmail.com

Applications will not be processed until the administrative fee has been paid.

http://www.jvsprojectspace.com/#!artist-in-residence-program/c10ta

Frans Masereel Centre (1972) is a place where national and international artists, researchers and graphic designers reside, meet and experiment. During the general residency program, the artist or graphic designer realizes a print project that matches his or her personal oeuvre. The residency lasts 4 to 6 weeks.

Frans Masereel Centre offers residencies and a working space to graphic designers, artists and critics who want to work with intaglio, relief printing, screen print or lithography, or who want to investigate the relationship of graphics with other visual arts. The focus is on creation and experimentation in the workshop. Frans Masereel Centre anno 2016 is a graphical laboratory in which the possibilities of graphical applications are being researched, widened and reformulated. It is a platform for the public, the artist and his work.

The center is located in the rural 'Anwerpse Kempen’. The architect, Lou Jansen, designed the main studio as an open and round structure, where one can work peacefully. The work studio is open from 8 am to 8 pm. Ivan Durt and Tom Dries, our technical staff member, give the necessary support and technical advice. As a resident you have your own studio with kitchen, dining and living room and two bedrooms at your disposal. We also offer one bike for each house. You’re free to bring your assistant.

Deadline for applications for a residency in 2017, January to October, is August 1st 2016. Use our online application form. End of September 2016 we announce the selection.

No prior knowledge of the graphic medium is required, but residents are expected to work on their own. Two staff members are available for technical advice or help.

Application form online here.

The John Carter Brown Library has one of the world’s most important collections of maps and atlases related to the history of the Americas and, more broadly, to the entire world, across the period stretching from the earliest printed atlases (c. 1472) through to maps showcasing the end of the colonial period (c. 1825). The Library has consistently added significant geographical works to its world-renowned collection of Americana. The print collection, albeit smaller, has likewise continued to grow, and consists of a separate collection of prints as well as a collection of mostly British political cartoons. The George S. Parker II ’51 Curator of Maps and Prints serves as the chief ambassador – and chief proselytizer – for both of these extraordinary collections. Responsibilities for this collection include: its continued growth through acquisitions and collection development; its interpretation for scholars and the general public, through onsite and digital engagement; exhibition and publication preparation; the provision of reference services; identifying materials for preservation and conservation; and other duties as assigned by the Director/Librarian, to whom this position reports. It is essential that the incoming Curator of Maps and Prints have a solid grasp on the history of the Americas and the history of maps (and, ideally, how the two intersect) so as to be able to answer reference questions concerning the collection, and to be able to effectively and meaningfully present cartographic material to staff, fellows, researchers, the Brown community, and the world outside of Brown.

See link for more information.

Qualifications:
- Ph.D. or extensive curatorial/scholarly experience in a field related to the history of cartography, including but not limited to history, art history, literary studies, geography, anthropology, or other cognate disciplines; minimum of 5 years of experience with map and/or print collections; experience with the stewardship of unique collections and discovery tools to access these collections; knowledge of metadata and cataloguing concepts
- Demonstrated aptitude for teaching and developing instructional materials for advanced researchers and students of all levels, including digital outreach and the use of electronic media for a robust range of pedagogical and scholarly activities
- Demonstrated experience in rare materials and/or special collection libraries
- Ability to speak publicly and write with demonstrable skill, including grant and proposal writing as well as advanced scholarship
- Familiarity with or strong aptitude in foreign languages and knowledge of history/geography are highly desirable
- Interest or ability in linking the study of historical maps and atlases with emerging technologies, including digital humanities and/or GIS-based projects
- Ability to manage projects effectively and independently; strong organizational, administrative and time management skills; initiative, confidence, and good judgment to prioritize, problem-solve, and execute tasks in a timely manager; ability to work with a diverse group of people, maintaining confidentiality, tact, and diplomacy.

XIth International IAWIS/AIERTI Conference
University of Lausanne (Switzerland)
10-14 July 2017

The eleventh IAWIS conference explores the impact of reproduction/reproducibility on artistic and literary creation, and on the textual and visual constructions of knowledge in the humanities. Multiple sessions will be dedicated to printmaking/thematic issues related to reproduction, including:

PRESS AND ILLUSTRATED BOOKS
- Reproducing Text and Image in the Ancient World
- Reproducing and recycling literary illustration from the 17th to the 21st century
- Que reproduit la première presse illustrée (17ème-19ème siècles) ?
- Nouvelles problématiques autour des revues illustrées – 19ème – 20ème siècles
- Imagination et visibilité romantiques
- Reproduction and Transformation. Images and objects of European political cultures from the 18th to the early 20th century
- Refusing Rote Reproduction: Transcending Traditional Mimesis in Book Illustration
Copy: How-to book. Practical aspects of copying in Italy from the 18th to the 19th century
- Transcréations par le texte et l’image : le cas des contes de Perrault et de Grimm

ARTS AND SHOWS
- Reproduction on stage I
- Reproduction on stage II
- La reproduction comme acte performatif. BD, arts de la rue et chars de carnaval
- Les tableaux vivants: contre-modèles de la reproductibilité technique?
- Reproduire l’éphémère. Les cultures du spectacle à la lumière des feux d’artifice
- Performing Texts: Pictures Replicated in Texts, Texts Reproduced in Pictures

EXHIBITIONS, MUSEUMS AND COLLECTIONS
- L’exposition reproductible. Du musée à la foire commerciale (19ème-20ème siècles)
- Beyond the Museum: Ekphrasis and New Media
- Reproduire pour collectionner, collectionner pour reproduire : le métier de l’iconographe
- Actualité du Musée imaginaire (Malraux): Les métamorphoses du Musée imaginaire

PRINTS: ENGRAVING AND PHOTOGRAPHY
- The Photograph and Its Narrative Shadow
- Idem ? Esthétiques et implications du facsimile
- Photography, Reproduction and Text
- Reimagined Meanings: Photographs Repurposed in Literature and Art
- Images d’un pays : reprise et circulation iconographique au 20ème siècle
- La représentation et la diffusion de l’histoire nationale par l’image imprimée dans l’Europe des Révolutions
- Art and Craft: From Mechanical Reproduction to Metamedial Re-Production
- L’image satirique en France et en Angleterre au 19ème siècle: appropriation, copies, transferts
- L’affiche – entre beaux-arts et publicité
- Landscape in Print
- Documentaires patrimoniaux : de la reproduction des archives photographiques et textuelles d’écrivains au refaçonnement de l’histoire littéraire

INTERNET
- La reproduction dans les dessins d’enfants
- The source code as the work of art
- Art history and history illustrated: the Internet and creativity
- La flânerie, le “Street View” et les pratiques de reproduction des images numériques
- L’oeuvre à l’heure de sa viralité numérique
- Image digitization, curation and mining: An altered or enriched case?
- An Internet Meme

CONTEMPORARY ART
- Appropriation art: The fine line between a copy and an original work
- (D’)après Ed Ruscha : le livre d’artiste et ses déclinaisons
- The Digital Artist’s Book: From Object to Event?
- Reproduction and Knowledge Production: Conceptual Writing in Art and Artistic Research
- Time, Reproducibility and the Avant-Garde
- Demediatized Media: Conceptualism and Reproducibility
- (Ré)appropriations

THEORIES AND CULTURES
- Reproduction et agir symbolique
- Jeux d’échos : hommage à Umberto Eco
- Ironic Reproductions: Benjamin’s blind spot and Baudelairean modernity
- « Translation » and « Reproduction » in the work of Walter Benjamin through the lens of its translations
- The Reproduction of the Other: Originality and Copy in a Cross-Cultural, Trans-Historical Perspective
- Ekphrasis: Reproducing the absent
- Tatouage et reproduction visuelle du Moyen-Âge à nos jour

Experimental prints made in America during the 1940s and 1950s do not fit neatly into studies of postwar art or the history twentieth-century printmaking. This period of printmaking activity is often overlooked as a “messy” aberration, bracketed between the graphic arts workshops of the Work Progress Administration and the collaborative printmaking studios opened in the 1960s, such as Tamarind Lithography Workshop, Gemini G.E.L., and Universal Limited Art Editions. Made in the two decades preceding the Print Council of America’s standard-setting publication What is an Original Print? (1961), these midcentury prints also do not conform to today’s guidelines for printed editions: impressions are often unique and part of unnumbered editions of unknown quantities.

Despite midcentury prints becoming peripheral to the mainstream history of postwar modernism, artists explored printmaking with zeal and enthusiasm. Their prints traversed the United States and the globe in the postwar decades, evangelizing unfettered modernist expression and American democracy. The government recognized this diplomatic potential, and the United States Information Agency (founded 1953) amassed a collection of more than 1,600 prints to hang in American embassies around the world.

This session welcomes a broad range of papers that will open scholarly inquiry into this understudied period of printmaking in America. Case studies could focus on artists (both Americans and international artists working in America), known and under-known communal or academic printmaking workshops, the midcentury print market and collecting activities of curators and individuals, and exhibitions of prints in the United States or abroad.

Please submit an abstract by August 30 to Christina Weyl (christinaweyl@gmail.com).