The University of New Mexico seeks an energetic, visionary leader for the position of Director of the University Art Museum.

Located in Albuquerque, the largest city in New Mexico and one of the fastest growing in the Southwest, UNM is a Carnegie Very High Research University, a federally designated Hispanic-Serving Institution, and the state's flagship institution of higher learning. University Art Museum is a dynamic part of UNM and is first and foremost a teaching museum. Founded in 1963, the University Art Museum is the foremost teaching collection and the largest fine arts collection in the State of New Mexico

The mission of the University Art Museum is to encourage an understanding and appreciation of art and its multiple roles in society by collecting, preserving, exhibiting, and interpreting works of art drawn from its permanent collection and traveling exhibitions. Through a combination of teaching, active research, public programming, and open conversation with members of the university community, as well as other communities that are local, regional, national and international in scope, the museum cultivates engaged, interactive learning about the arts.

Its particular strengths are in works on paper that include more than 10,000 prints (dating from the Nuremberg Chronicle of 1493 to the present), 10,000 photographs and early cased objects (dating from 1843 to the present), and nearly 1500 drawings (dating from the 17th century to the present). The University Art Museum also holds the Tamarind Lithography Archives (over 6000 lithographs) and the Raymond Jonson Collection (over 2400 works by Jonson and other artists). Other collections include painting and sculpture from Europe and the Americas, African art and Mata Ortiz ceramics. Housed in the Center for the Arts, the recently renovated museum (15,700 square feet) has three floors of exhibition space, a state of the art collections vault for works on paper and an adjoining print seminar room, and a suite of administrative offices. For further information, go to www.unm.edu/~artmuse/.

The Director of the University Art Museum reports directly to the Dean of the College of Fine Arts and will be responsible for developing and managing the museum's annual budgets; coordinating and supervising 8 current staff members; overseeing and promoting the museum's collections, including acquisitions, exhibitions, and publications; developing and implementing strategies for generating new resources; developing a long-range strategic plan and securing AAM accreditation; and representing the University Art Museum both inside and outside the university. Two of the University Art Museum's major goals that the successful candidate must be able to effectively address are moving the institution toward accreditation and digitizing the collection.

The successful candidate will have:

At least five years' management experience in a museum, cultural institution, arts organization or administrative experience in a related field.

Administrative experience with managing budgets and long-term planning

An advanced degree in Art History, Art, Arts Management, or related field.

A demonstrated ability to create and foster a collaborative work environment.

A demonstrated ability to work with multiple constituencies and communities in the arts.

This is a benefits eligible position.

The University of New Mexico (UNM) provides a comprehensive package of benefits including medical, dental, vision, and life insurance. In addition, UNM offers educational benefits through the tuition remission and dependent education programs.

European Network for Avant-Garde and Modernism Studies (EAM), University of Rennes, France, June 1-3, 2016

Call for Papers for a panel on
Expressionist Prints: Investigating Artistic Techniques and the Creative Process

Chair: Isabel Wünsche, Professor of Art and Art History, Jacobs University, Bremen, Germany

Expressionism in literature, the visual arts, theatre, and film has fundamentally shaped European cultural identity throughout the first half of the 20th century and been identified with German artistic and intellectual culture in other European regions. However, within avant-garde studies Expressionism has often received less attention than Cubism, Futurism, and Constructivism because of its stylistically less unified artistic idioms and its more subjective-individual and supposedly less radical stance.

This panel on Expressionist prints at EAM 2016 seeks to investigate the cultural energies released by Expressionist forces throughout greater Europe in the first half of the 20th century. Discussion will center on the revival and adaptation of graphic printing techniques such as, for example, woodcut and lithography by Expressionist artists and their exploration as a means for revealing heightened psychophysiological states of human being, which was often discussed in relation to new scientific discoveries in the emerging field of psychophysiological studies. Two aspects are of particular concern:

1) Expressionist explorations of graphic techniques and their expressive qualities as well as of related psychophysiological investigations into the creative process

2) the reception of Expressionist prints and the artistic discourses evolving around it in the various European regions

The panel invites papers on the exploration and reception of Expressionist printing techniques in the German-speaking world as well as in regions such as Scandinavia, the Baltics, Central and Eastern Europe, the Balkans, and the Southern Europe.

Please send your abstracts until August 21, 2015 to i.wunsche@jacobs-university.de

The Smithsonian’s National Portrait Gallery is devoted to telling the story of America by portraying those who shape the nation’s history, development and culture, as well as reflecting and portraying the diversity of the American people. The museum has a collection of over 22,000 objects in all mediums. For this position--one of two curatorial positions within the Department of Prints, Drawings and Time-based media art--the museum seeks candidates with demonstrated experience with fine art prints and drawings in all media from the 18th century to the present and knowledge of print-making techniques. Preference may be given to candidates with expertise in 18th to early 20th century prints and drawings. Knowledge of American art history is required; knowledge of American history and biography and the history of portraiture is preferred.

There are three major duties for this position. First, the curator will identify and research objects for acquisition, monitor the processing of new acquisitions, including cataloguing, and participate fully in collections care. Second, the curator will conduct sophisticated research in order to conceive and develop exhibitions, singly, or working with a curatorial team. Some exhibitions will consist primarily of loans; others will be collections based, including rotations in the museum’s permanent collection galleries. And finally, the curator is expected to write exhibitions texts, publish research, present gallery talks and lectures, participate in scholarly programs or public programs in the museum, and to respond to public inquiries about portraiture.

Candidates should have excellent writing and communication skills. Experience with The Museum System (TMS) is desirable. Candidates may substitute experience for advanced degrees, but an M.A in Art History, American Studies, or a relevant related field is required. A Ph.D. is preferred.

Salary is GS-11 ($63,722.00 -- $82,840.00), with promotion potential to GS-12.

To apply, please visit https://www.usajobs.gov/GetJob/ViewDetails/410704200
Job announcement number 15A-RA-300805-DEU-NPG Applications will be accepted from 7/24/2015 to 8/14/2015.

The Smithsonian embraces diversity and equal employment opportunity.

The Saint Louis Art Museum is seeking an A.W. Mellon Fellow for Prints, Drawings and Photographs. This is a full-time, limited term (3-year) benefited position reporting to the Curator of Prints, Drawings and Photographs. The main purpose of this Fellowship is to research and evaluate collections of late 20th and early 21st-century American prints in the Museum and in other Saint Louis collections, and to collaborate with the Curator of Prints, Drawings, and Photographs in the organization of an exhibition and catalogue based on the material. During the 3-year term, the Fellow will work with members of the Department of Prints, Drawings, and Photographs as well as staff throughout the Museum and colleagues and collectors in the community

M.A. in modern and contemporary American Art History or related field required; Ph.D. and specialization in the history of prints and printmaking strongly preferred. Minimum two years previous museum experience is also desired in addition to a demonstrated commitment to scholarship through research, exhibitions and publications.

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.

“Details.” For the Jan-Feb 2016 issue of Art in Print we are inviting scholars, collectors, dealers, printers and artists to write about their favorite square inches of works of art. 500-700 words; deadline 15 October 2015. Please send a query email with proposed subject to Susan Tallman (st@artinprint.org).

“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.

Art in Print is currently seeking reviewers for the following books. Please email Susan Tallman (st@artiprint) to express interest.

Margaret Holben Ellis, ed., Historical Perspectives in the Conservation of Works of Art on Paper. (Getty Publications, Los Angeles, 2015)

Fritz Emslander, ed. Gert & Uwe Tobias (Verlag Kettler, Dortmund, 2015)

Lisa Pon, A Printed Icon in Early Modern Italy: Forli’s Madonna of the Fire (Cambridge University Press, 2015)

Stefan Gronert, ed., Gerhard Richter: Editions 1965-2013 (Hatje Cantz, 2014)

Paul Coldwell et al., Paul Coldwell: Material Things (University of Bradford UK, 2015)

Jonathan Black, C.R.W. Nevinson: The Complete Prints (Lund Humphries, London, 2014)

April Vollmer, Japanese Woodblock Print Workshop: A Modern Guide to the Ancient Art of Mokuhanga (Watson-Guptill Publications, Berkeley, 2015)

Bob Hicks, Beth van Hoesen: Fauna & Flora (Pomegranate Communications, Portland, 2014)

Joby Patterson, Norma Bassett Hall: Catalogue Raisonné of the Block Prints and Serigraphs (Pomegranate Communications, Portland, 2014)

Please email Susan Tallman (st@artinprint.org) to express interest in reviewing any of these exhibitions.

“Gustave Baumann” at Indianapolis Museum of Art
25 Oct 2015 – 14 Feb 2016; in conjunction with The Autobiography of Gustave Baumann (Pomegranate, fall 2015)

“The Nature of William S. Rice: Arts and Crafts Painter and Printmaker,” Crocker Art Museum, Sacramento CA. 15 Nov 2015 – 3 April 2016.

“The Worlds of M.C. Escher: Nature, Science and Imagination,” North Carolina Museum of Art, 17 Oct 2015 – 17 Jan 2016.

“Expanding Frontiers: the Jack and Suzy Wadsworth Collection of Postwar Japanese Prints,” Jordan Schnitzer Museum of Art, 26 Sep 2015 – 3 Jan 2016.

The Atlanta Print Biennial is an international juried exhibition of hand pulled prints and works on paper produced by renowned artists from around the world. The exhibit is organized by Atlanta Printmakers Studio and hosted by Kai Lin Art, a contemporary art gallery located in the vibrant Westside District of Midtown Atlanta, GA. Juried by Art Werger, internationally known master of aquatint, color intaglio and mezzotint. Werger has been exhibiting for over thirty years and has received over two hundred awards. He is known for his aerial imagery of cities and suburban scenes as well as for his prolific narrative mezzotints. Werger is Professor of Art in the Printmaking program at Ohio University, where he has served as the Foundations Chair and Chair of Printmaking.

The exhibit is open to all artists working in hand-pulled printmaking processes. Purchase awards and prizes will be given; details to come.

Prospectus: http://www.atlantaprintmakersstudio.org/s/APB_2015.pdf

All submissions must be made online via https://www.callforentry.org/festivals_unique_info.php?ID=2770.

CALENDAR:
September 11, 2015: Entry Deadline
September 30, 2015: Notifications sent by email
October 20-24, 2015: Artwork due at Kai Lin Art
November 1-30, 2015: Exhibition Dates
November 6, 2015: Opening reception

Printmaking encourages community, whether in our college and university printshops, in our independent studios, or in the relationships we develop across the country and world. We’re inviting you to expand your community by being part of the And exhibition. This postcard print show will be exhibited in universities across the U.S.

CALL FOR ENTRY: 4" x 6" postcards.
Your postcard should conceptually relate to the word “and”; we encourage you to explore and interpret
this theme as you will. Feel free to work in any medium of your choice, including digital. Please include your email address on the back of the postcard; you will be notified when we receive the postcard and the dates of the exhibition.

DEADLINE: OCTOBER 15, 2015

Send one postcard each to the following addresses.

Sarita Zaleha
University of Iowa Printmaking
Studio Arts Building
1375 Highway 1 West
Iowa City, IA 52246

Cynthia Tidler
University of Wisconsin-Madison
Art Department
6241 Humanities Bldg
455 North Park Street
Madison, WI 53706

Jade Hoyer
University of Tennessee
School of Art
1715 Volunteer Blvd.
Knoxville, TN 37996

The Manhattan Graphics Center (MGC) in New York announces its first juried competition and exhibition devoted to small prints (no larger than 9 square inches or 58 square centimeters). The exhibition will take place from 1 November–18 December 2015 at their printmaking studio in New York with an opening reception during Print Week in New York. All entries must be postmarked by 1 September 2015. For more information, please click here.