Despite its centrality to conventional narratives of early modern Italian
art, sixteenth-century Florence’s place within the evolving history of
printmaking remains, in many respects, nebulous. Who produced engravings
and woodcuts within the sixteenth-century city? In an environment saturated
with artists and craftsmen, why were so many Florentine print designers -
including Vasari and Stradano - sending their drawings to northern Italy
and even beyond the Alps for production? Who constituted the public for
prints within the city and how were the products of the press collected and
displayed? We seek new research that explores print design, production and
collection in the vibrant and rapidly changing artistic environment of
sixteenth-century Florence. Studies may examine particular Florentine
printmakers, designers, publishers and collectors or explore themes
including seriality, invention, developing technology, emerging markets, or
the materiality of the printed image.

Please send a 150-word abstract and 300-word CV to organizers Lia Markey (
lia.markey@gmail.com) and Sean Roberts (robesean@gmail.com) by Wednesday,
May 6th.

In conjunction with the opening of Beyond Bosch: The Afterlife of a Renaissance Master in Print, the Saint Louis Art Museum presents a day of in-depth discussions in the galleries. Attendees will have the opportunity for a first viewing of the exhibition before the Museum opens to the public and to participate in dialogue with scholars, including guest speakers Matthijs Ilsink (Bosch Conservation and Research Project), Nadine Orenstein (Metropolitan Museum of Art), and Larry Silver (University of Pennsylvania), and the exhibition’s curators, Marisa Bass and Elizabeth Wyckoff.

The prints on display raise many issues central not only to the study of Hieronymus Bosch but early modern art in general: changing notions of authorship and invention; the rise of the print market; the function and meaning of new pictorial genres; and collecting culture. The exhibition also addresses the relation between Bosch and the prints of Pieter Bruegel the Elder, who launched his career in dialogue and competition with the legacy of his predecessor.

This event is free, but advance registration is required. Space is limited. To register, emailstudyday@slam.org or call the Study Day hotline at 314-655-5136. You will receive a response to confirm your registration.

Further information on the exhibition itself can be found here: http://slam.org/exhibitions/beyondbosch.php

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 new paid fellowship opportunity for the 2015-2016 academic year. The fellow will be responsible for researching and cataloging selected areas of the collection in preparation for an online collections search. 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 15th. Complete details are listed below.

Term length and compensation:
The fellow will work 36 hours a week for 9 months beginning September 2015. The selected candidate will receive a $30,000.00 salary as well as a modest travel and research allowance.

Cataloging Project Description:
The collection area will be determined based on the expertise and interests of individual applicants. Possibilities may include but are not limited to:

· Approximately 160 Old Master drawings (including French, German, Flemish, and Italian examples from the 15th through 18th centuries)
· The Richard Vogler Cruikshank collection, comprising roughly 3,500 prints and book illustrations by 19th century illustrator and caricaturist George Cruikshank, as well as several hundred additional works by Percy, Isaac, and Richard Cruikshank
· Approximately 700 works (largely drawings and preparatory maquettes for subsequent works many of which are also in the collection) by contemporary California printmaker Corita Kent (1918-1986), part of a major bequest of 1400 works from the estate of Sister Corita to the Grunwald Center
· Approximately 1600 ornament prints by French, German, and Italian artists spanning the 16th through the 18th centuries
· 20th century American prints, of which the Grunwald has substantial holdings (artists include Garo Antreasian, Misch Kohn, John Paul Jones, Louise Nevelson, and June Wayne)
· The Grunwald’s substantial holdings of German Expressionist Prints (artists include Max Beckmann, Ernst Ludwig Kirchner, Käthe Kollwitz, Franz Marc, Emil Nolde, and Karl Schmidt-Rottluff)


Desired qualifications:
The ideal fellowship candidate will be an advanced graduate student in art history or history (with an emphasis on visual studies or material culture) 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 French, German, or another foreign language highly 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 15th, 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 they should indicate which target area best matches their interests and abilities. Applicants selected for an interview will be notified by early June.

APS invites submissions for its 1 1/2 hour professional session at the 2016 College Art Association Annual Conference, which will take place February 3-6, 2016 in Washington, DC.

We welcome proposals on any aspect of the history, theory, or practice of printmaking from any chronological or geographic category. Preference will be given to proposals that call for a wide array of papers covering printmaking's rich history.

Details:

Individual or co-chaired sessions are welcome
Proposals should include a title for and a short description of the session (no more than 500 words)
Chairs and co-chairs must include CVs with submission
Chairs and co-chairs must be active members of CAA and APS at the time of the annual conference.

Deadline for proposals: May 1, 2015

To ask questions or submit a proposal, please email info@printscholars.org.

Department of Prints and DrawingsThe Art Institute of Chicago:

Paid summer internship opportunity in the Department of Prints and Drawings at the Art Institute of Chicago, generously funded by the IFDPA.

The posting and application instructions can also be found on the Art
Institute's HR website: http://www.artic.edu/employment

Applications will be reviewed on a rolling basis and the successful candidate will be named by the end of April.

The new magazine “Celebrating Print”, which will focus on Central and Eastern European printmaking, is looking for proposals for scholarly articles and essays. The magazine will be published by KADS NY twice a year. Its mission is to reinvigorate public interest in the art print and the process of printmaking in Central and Eastern Europe, to map its evolution, and to join the printmaking community worldwide in a discussion on contemporary prints.

Visit the website www.kadsny.com for more information. You can also download submission guidelines.

Please contact Katerina Kyselica (Director of Celebrating Print Competition and Principal of KADS NY) at katerina@kadsny.com if you would like to contribute. Deadline for proposals for April 2016 issue: October 31. Copy date: first week of January 2016.

This conference will explore the rich world of printmaking and its development in Scotland in the 18th Century. While a good deal of research exists on printmaking in England there is very little on the relationships between artists, printmakers, publishers and collectors in Scotland.

Besides contributions on the work of individual artists, we seek in particular to explore the development of a market for prints. We invite papers on all aspects of the subject, but we are especially interested in contributions that will address the following questions:

- Who were the engravers and etchers, the teachers, publishers, dealers, collectors of prints and suppliers of materials?
- How was the print trade between Scotland, London and the continent supported?
- Were there printmakers working outside Edinburgh and Glasgow?
- Where could artists see the work of other printmakers?
- What kind of prints were they making: landscapes and prospects,
antiquities, portraits, satires, drawing manuals, book illustrations and book plates, trade cards?
- In what ways did prints contribute to the 'discovery' of Scotland, the Jacobite cause?

To submit a proposal for a 20-minute presentation, please send an abstract not exceeding 300 words and a one-page CV to: avg1@st-andrews.ac.uk

A selection of papers will be edited for publication by the conference organisers.

For further details, contact: Ann Gunn, School of Art History, University of St Andrews: avg1@st-andrews.ac.uk

This conference examines the relationship among artist, action, surface, and reception within the modernist tradition. Technical, critical, formal, and historiographic analyses of the notion of the pictorial surface, and what can be “implanted” and “read,” will be considered. The “Surface,” which connotes everything from Clement Greenberg’s “material plane” to the site of performance, simulation, commodity, and materiality, is contested within, and central to, theories of modernism. What lies behind the surface? How do surface/form and meaning/motif interrelate? How does art history as a discipline intersect with conservation, and material history to re-imagine the surface? How have media and screen cultures, and recent theories of visuality and cognition, reconstituted the surface?

The conference is organized into three broad conversations: Vision, Touch, and Materials.

Papers are invited from art historians, philosophers, conservators, material historians, film and media theorists, neuroscientists, literary theorists, and others who consider the meaning and dynamics of the pictorial surface in modernism, and who are interested in the surface as a discursive arena.

Proposals for this conference must include (in English)
a) an abstract of maximum 300 words summarizing your argument;
b) your academic resume; and
c) your full contact information including email.

Papers will be 20 minutes in length and will be followed by discussion.

Contributions should be sent to elsebet.kjerschow@nasjonalmuseet.no by 1st May 2015. You will be notified by 1st June 2015 of your acceptance.

The UCLA Grunwald Center for the Graphic Arts at the Hammer Museum has been awarded a grant from the International Fine Print Dealers Association to fund one paid summer internship for 2015. This internship offers a rare opportunity to work directly with works of art from the Grunwald Center, one of the country’s most important collections of prints, drawings, and photographs comprising roughly 40,000 objects from the Renaissance to the present. During the course of the 8-week internship, the selected candidate will work under the supervision of the Grunwald Center staff to catalog areas of the Grunwald Center collection and prepare a digital project in conjunction with this research. Interested candidates who possess some combination of relevant museum experience and/or graduate-level coursework related to prints and drawings should apply by sending a resume and cover letter to resumes@hammer.ucla.edu and including “IFPDA Internship” in the subject line.

Term length and compensation:
Part time (20 hours per week) for 8 weeks; selected candidate will receive a $2,500.00 one-time stipend at the beginning of their internship term.

Please send a resume and cover letter to resumes@hammer.ucla.edu by April 20, 2015. Include “IFPDA Internship” 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 internship, and they should indicate which target area best matches their interests and abilities. Applicants selected for an interview will be notified by early May.

In the framework of its annual cycle of manifestations on Italy and i Fiamminghi, the Academia Belgica organizes in collaboration with the Koninklijk Nederlands Instituut Rome a summer school on Printmaking in Italy and the ‘Flemish’ contribution. Internationally renowned specialists will guide you in the world of print making, lecture on the relation between Venetian and Roman print businesses, and discuss specific topics related to Renaissance and Baroque prints. Among the programme teachers you will find Christopher Witcombe, author of Print Publishing in Sixteenth-Century Rome
(2008), Ann Diels, Rubens specialist and responsible of the New Holl- stein volumes on the Collaert family, Johannes Stradanus specialist Ales- sandra Baroni and Giovanna Sapori, author of Fiamminghi nel cantiere Italia 1560-1600 (2007).

Candidates‘ Profile (12 max)
MA/PhD Students in History, Art History and related disciplines
application
http://knir.it/en/register/form-courses. html.

Deadline: 15 April 2015
subscription fee
400 € : accomodation / visits / material (without accomodation: 100 €)
grants

3 grants of 200 € awarded on the basis of the letter of motivation
more info info@academiabelgica.it

Teaching languages
English Italian

Teachers
Prof. dr. W. Bracke (ULB/KBR/AB)
Prof. dr. A. Diels (VUB)
Prof. dr. H. Hendrix (KNIR)
Prof. dr. G. Sapori (Roma Tre)
Prof. dr. A. Baroni (University of Rochester) Prof. dr. C. Witcombe (Sweet Briar College) Istituto centrale per la grafica