This symposium aims to investigate the relationships between books and
urban city spaces. Cities are complex networks that exist in a constant
state of transformation. More than just the built environment of the
metropolis, cities are constituted through a range of geographic,
social, political and economic dynamics. Drawing together a range of
interdisciplinary perspectives, the symposium seeks to investigate the
ways in which these aspects of the city have been articulated by books,
their production, distribution and collection.

Books and the City poses a number of questions: How has the city been
represented in literature, travel guides, artists’ books, newspapers,
prints, graphic novels or zines? How has the book been used to reflect,
challenge or produce urban identities? To what extent is the book
implicated in strategies of mapping, defining borders and city limits
or articulating boundaries between the urban and suburban? What role
have books played in constructing narratives about the history, memory
or future transformations of the city? How do book collections,
publishers and systems of distribution relate to notions of civic
identity? How might the materiality of books and their preservation
reveal the structures or concerns of city spaces and their communities?
Papers exploring these questions and others are invited from artists,
academics and professionals working across periods and geographies.

The symposium will be organized around sessions on:
- Book history
- Artist’s books
- Representations of the city
- Travel
- Urban centers (London, Paris, etc.)
- Conceptions of space and time
- Books and city networks
- Circulation of books and reading practices in the city

These session themes are suggestions and are not an exhaustive list.

The Books and the City symposium coincides with the Netherlands 2016
Year of the Book.

Abstracts of 300 words (max) along with a short bio should be submitted
to barbara.garrie@canterbury.ac.nz, p.fleskens@maastrichtuniversity and
emilie.sitzia@maastrichtuniversity.nl by 1 March 2016. Panel proposals
will also be considered.

Call for Applications:
Printmaking Workshop for Early-Career Scholars
Sponsored by the Association of Print Scholars (APS)
Providence, RI, May 20-21, 2016

Knowledge of printmaking techniques is integral to a scholarly understanding the field. Print enthusiasts frequently find it necessary to “dissect” a print—count the number of layers used in a screenprint, examine the fineness of a line in a woodcut, or guess how many plates were implemented in the printing of a color etching. Despite this inherent focus on process, many scholars have never had the opportunity to make a print themselves due to issues of time, funding, or resources.

The Association of Print Scholars (APS) is pleased to announce a two-day intensive workshop that will provide early-career scholars with a brief introduction to printmaking techniques. The workshop will begin with a kickoff reception on Thursday evening at Cade Tompkins Projects, a gallery that represents contemporary printmakers including Daniel Heyman, Allison Bianco, and Nancy Friese.

Participants will spend the first day focusing on intaglio processes, with a special presentation on engraving by Andrew Raftery, Professor of Printmaking at the Rhode Island School of Design (RISD), held at Overpass Projects, a new printshop founded by RISD printmaking MFA alumni. The second day will focus on lithography. The workshop will be led by Brian Shure, Assistant Professor and Graduate Program Director in Printmaking at RISD, and a former master printer at Crown Point Press. The number of participants will be limited to ensure a hands-on experience with each demonstration and access to individualized attention.

Who: Graduate students currently enrolled in art history, visual culture, or material culture doctoral programs in the United States or early-career professionals who graduated within the last ten years. Applicants must be members of APS.

Fees: Participants will be responsible for travel expenses to Providence and lodging. Stipends will be offered, by application, to offset these costs for those without institutional support.

Application: To apply, please submit the following documents:

a brief statement (500 words or less) describing your research and how it would be enriched by this workshop
a current CV
one letter of reference (sent directly to info@printscholars.org)
a proposed budget for your expenses (only required if you would like to be considered for a stipend)

Please send your application as a single PDF attachment to info@printscholars.org with the subject line “Providence printmaking workshop.” Applications are due by January 31, 2016. Applicants will be notified by February 15, 2016.

This workshop is sponsored by a generous grant from The Wolf Kahn and Emily Mason Foundation.

The Wolfgang Ratjen Award is an annual award for distinguished research in the field of graphic arts. The prize, funded by the Foundation Wolfgang Ratjen, is curated and presented by CONIVNCTA FLORESCIT Friends of the "Zentralinstitut für Kunstgeschichte".

The purpose of this award, which honours the memory of the collector Wolfgang Ratjen (1943-1997), is to encourage younger scholars to address neglected topics and to bring the results of their work to the attention of a broader public.

Consideration will be given to a Ph.D. dissertation, M.A. thesis, or scholarly article of larger scope, dealing with art historical questions which involve drawings or prints in Western art. Applicants should have an academic background.

The winning candidate, chosen by an independent committee of scholars, will receive € 5,000, and is expected to spend three months conducting research at the Zentralinstitut für Kunstgeschichte in Munich.

Candidates for the award are requested to send a copy of the research paper in question, along with a curriculum vitae detailing academic qualifications, copies of certificates and a list of publications to: Zentralinstitut für Kunstgeschichte, to the attention of Prof. Dr. Iris Lauterbach, Katharina-von-Bora-Str. 10, 80333 Munich/Germany.

The application deadline is March 5, 2016.

The East Coast Screenprint Biennial is an art exhibition that showcases a range of screenprint-based art applications, from framed, editioned prints, to installation, sculpture, video, ephemera, and posters. This juried exhibition will showcase artists from around the country who utilize adventurous, relevant, and passionate takes on the screenprinted medium. The Screenprint Biennial is the curatorial project of Nathan Meltz, printmaker and lecturer in the Art Department of the Rensselaer Polytechnic Institute in Troy, NY.

In the fall of 2016, the second East Coast Screenprint Biennial premiers at The Arts Center of the Capital Region and The Collar Works Gallery in Troy, NY. Select works will travel to the Center for Contemporary Printmaking in Norwalk, CT, in January 2017.

Art in Print is currently accepting proposals for a number of upcoming issues. We invite writers, scholars and artists at all stages of their careers to consider contributing. Please see details below.

“New Editions.” The Mar-Apr 2016 issue will consider editions published in the previous 18 months. Most reviews are brief (under 600 words) but there are exceptions. Please send a query email with proposed subject to Susan Tallman (st@artinprint.org). Deadline: 7 January 2016.

“Chicago.” We are currently accepting queries and article proposals for a future issue on the role of prints—production, influence and reception—in the art and art history of Chicago.

Each bi-monthly issue of Art in Print features a full-page reproduction and brief essay about the work of one artist, chosen by an outside juror. Jurors include artists, curators, printers, publishers and dealers from around the world.

Who can enter?
We can accept one submission per subscription per issue. The subscriber can be an artist, publisher, printshop, gallery or other organization.

How do I submit?
Submit your entry through our online form. https://artinprint.org/prix-submit/

When to enter:
The deadline is the middle of every odd-numbered month: 15 January, 15 March, 15 May, 15 July, 15 September, 15 November.

Do I have to be a subscriber to submit?
Yes. Art in Print is a not-for-profit organization and we depend on member support for all our programs. Subscriptions start at $38.

The Highpoint Gallery Director will successfully blend attention to detail, flexibility, and people skills while working in a small organization with a wide range of activities. They will have deep knowledge of art and the world of prints, be a motivated sales person, and have strong social skills. Work hours are 40 hrs/wk; plus occasional travel and weekend and evening hours for special events.

Gallery Director Job Duties include:

Highpoint Editions

Coordinate all aspects of Highpoint Editions sales, including pricing, marketing, and client communications/ relations.
Serve as main liaison to Highpoint Editions print buyers, coordinating invoicing and print packaging/ shipping with HP staff.
Oversee Highpoint Editions inventory and documentation systems.
Work with Information manager to track and report on Highpoint Editions sales.
Develop and execute an annual marketing plan for Highpoint Editions.
Grow net print sales for Highpoint Editions across individual and institutional clients, placing Highpoint Editions work in important collections and deepening relationships with clients.
Develop value added benefits for upper level collectors and patrons group.
Develop Highpoint Editions exhibition opportunities and traveling exhibitions.
Oversee rotating display of HPE artwork in Highpoint’s offices, professional shop, and print study room.
Coordinate photo documentation of visiting artists and Highpoint Editions artwork.
Maintain Highpoint Editions content on website (using WordPress platform).
Work with Artistic Director to coordinate participation in 2-3 art fairs annually (occasional travel is required).
Work with Artistic Director to convene Curatorial Committee on an ad hoc basis.
General Gallery

Develop and coordinate various Highpoint gallery exhibitions (international shows, juried shows, etc.).
Coordinate annual exhibitions plan/ calendar.
Lead group tours of gallery and facility as needed.
Schedule staff for Saturday gallery monitoring shifts.
Required Qualifications

Bachelor of Arts (or higher) degree
Working knowledge of various printmaking techniques (intaglio, lithography, screenprinting, and relief)
Knowledge of and enthusiasm for contemporary art
Mature outlook, positive attitude, and self-confidence working with others
Highly organized and detail-oriented
Ability to prioritize and multi-task a wide variety of projects
Able to work with many deadlines and different personalities
Flexible, creative, and efficient problem-solver
Strong verbal and written communication skills
Experience developing and executing marketing and/or communications plans
Preferred Qualifications

Demonstrated ability to sell and place contemporary art
Knowledge of national and international collectors and museums
Familiarity with the Twin Cities artistic community: its key institutions and issues
Experience with social media (Facebook, Instagram, and Twitter)
Familiarity with Google Apps, Salesforce.com, and WordPress a plus
Benefits

Vacation and sick pay
Discounts on classes and events
Chance to be part of a close-knit team of art and community advocates, and contribute your own ideas and skills in a meaningful way
How to apply

Applicants should submit:

A resume (2 pages max.). In addition to professional/ work information the resume should also list 3 professional references with their contact information
A 1-page cover letter detailing professional experience and highlighting any unique qualifications/ skills you can bring to Highpoint.
A writing sample (1-2 pages)
All materials should include name and current contact information (address, e-mail, phone)

Applications accepted via e-mail to cole@highpointprintmaking.org or by mail by January 6, 2016 (this is not a postmark deadline).

Applications may also be mailed to:
Job Search: Gallery Director
Highpoint Center for Printmaking
912 Lake Street West, Minneapolis, MN 55408

No calls, please.

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).