The Oklahoma City Museum of Art, located in the center of a vibrant and expanding urban culture, seeks a visionary, innovative, and experienced curator of prints, drawings, and photographs. The curator will contribute to all aspects of division operations including: care, display, interpretation, promotion, and publication of the permanent collection; developing a strategy for the reinstallation and rotation of the permanent collection, developing future exhibitions, educating the general public and Museum constituents through lectures, in-gallery talks and docent training; assisting the development team through grant writing, and building the collection through the cultivation of collectors and donors. The individual must posses a collaborative and playful team spirit with the ability to work well in a fast-paced and cohesive environment. The individual must have an established network of contacts in the field. This is a full-time, exempt, professional staff position that reports directly to the President and CEO.

Responsibilities

Permanent Collection

Participates in all aspects of the division including the care, conservation, display, interpretation, promotion, and publication of the permanent collection. Develops strategies for gallery reinstallation and collection rotation.

Exhibitions

Organizes and oversees innovative exhibitions, shares in the at-large curatorial projects, and participates in the design and reinstallation of galleries.

Education and Interpretation

In collaboration with the curatorial and education staff, develops didactic material for the permanent collection and special exhibitions and educates the general public and Museum constituents through lectures and in-gallery talks.

Publications

Provides scholarly research on the collection, as well as publishing independent scholarly articles in their fields of study. Contributes to cataloguing, the Museum website and the quarterly member’s magazine, Connect.

The Metropolitan Museum of Art, one of the world’s finest museums, seeks an Assistant/Associate Curator, Drawings and Prints. The Assistant/Associate Curator oversees every aspect of the department's comprehensive collection of European 19th-century drawings, prints, and illustrated books from acquiring, researching and publishing the works to organizing exhibitions and administering loans.

Primary Responsibilities and Duties:

Research and publish the collection.
Propose and organize exhibitions.
Research and propose new acquisitions.
Administer loan requests.
Foster and maintain excellent working relationships with donors, patrons, collectors, dealers, colleagues from other institutions, and the scholarly community.
Assist with fundraising as appropriate.
Engage with programs for departmental friends groups.
Contribute to the Museum's various educational programs.
Other related duties.
Application Deadline: July 17th, 2015

The Assistant/Associate Curator, Drawings and Prints, is a full-time position and includes full benefits. Salary will be commensurate with experience. Send cover letter, indicating position of interest, resume, and salary history to:

Careers@MetMuseum.org

as a Word attachment only

with “Assistant/Associate Curator, Drawings and Prints” in the subject line.

Minimum three years of museum experience.
Knowledge of European 19th-century drawings, prints, and illustrated books with a particular interest in French works required.
Excellent communication and writing skills.
Proficiency in two foreign languages including French preferred.
Knowledge and Education:

Ph.D. or equivalent experience preferred.

The New Mexico Museum of Art is looking for a Curator of Prints and Drawings, a new position which will be responsible for the museum's significant collection of works on paper. We have an ambition to become a beacon for excellence and innovation in all areas of museum work, and are looking for a talented curator who shares that ambition and has the energy and ideas to make it happen. The New Mexico Museum of Art is transforming to an institution where excellence and access go hand in hand, and where we celebrate and promote the art of this region, both historic and contemporary, by creating imaginative exhibitions and presenting art in new, innovative and accessible ways. We also seek to build partnerships regionally, nationally and internationally to bring world class art works to Santa Fe.

The Curator of Prints and Drawings will be responsible for the care, development, interpretation, exhibition, and information dissemination of this terrific collection. This position will be responsible for evaluating and categorizing artwork in the collection and will ensure collections are preserved and accessible to the public. This position will plan, develop, research, document and implement exhibitions and related projects; develop the collection through new acquisitions; contribute content to the cataloging and information files related to the collection; and ensure object information is complete, accurate, and up to date. This position will work with the registration and collection department to help maintain accurate records and care of the collection in compliance with museum standards. This position will assist with fund-raising and promotion and conduct research projects; and contribute to educational programs.

About the museum - The New Mexico Museum of Art was established in 1917 as an exhibition venue for the burgeoning art colonies in Taos and Santa Fe. Our historic building, on the National Register, is New Mexico’s premier Pueblo Revival style building and the transformation of Santa Fe from a western outpost into a cultural destination came into being in large part due to the efforts of the museum’s founders. Santa Fe is a world class art destination and we seek to reflect that in all aspects of our work. As a state institution, we are the primary repository for works of art for the people of New Mexico. Our museum and the collection reflect the history of the state and its people, serve as a repository of art from an important American art colony, and as a center for contemporary art. We hold significant collections of works of art crucial to an understanding of not only our region, but also of the history of art in America as experienced in the American Southwest.

If you are inspired to join us, here is a word of advice. The application procedure on the State website is bureaucratic and unforgiving. Please take time to read and fully understand the instructions, even when they may seem counter-intuitive. Give yourself ample time to follow instructions completely, or your application may not make is past the pre-screening at State Personnel. Allow plenty of time, and if you have any questions about the position or the application process, please don’t hesitate to contact Merry Scully, Head of Curatorial Affairs on merry.scully@state.nm.us. Interested candidates must apply online by June 28.

Job Requirements:
Bachelor’s Degree in Museum Studies, Museology, Art, Art History, Art Administration, and four (4) years experience in exhibit development, collections management, curation, creative writing, conducting research in specialty area of a museum, and working with historical concepts. Any combination of education from an accredited college or university in a related field and/or direct experience in this occupation totaling eight (8) years may substitute for the required education and experience.

This prize is intended to stimulate contemporary artistic creation. It will be awarded to an artist, aged less than 30 years old, who practises print engraving in the broadest sense. The candidates will come from all countries across the world. The prize will be given in the year corresponding to the contemporary Biennale de Gravure.

The prize is an amount of € 2,500.

The Jerome Residency program is open to emerging Minnesota printmakers who already possess training in traditional printmaking techniques, and can provide original examples of such work. An “emerging” artist is generally defined as an artist who shows significant potential, yet has not received a commensurate amount of professional accomplishment and recognition regardless of age or recognition in other fields. Highpoint and the Jerome Foundation reserve the right to review and determine applicant status as“emerging.”

Applicants will be judged on the artistic merit of their work, their dedication, interest, and potential in printmaking, as well as the quality and clarity of their plan for the residency. To be eligible, artists must illustrate proficiency in a traditional printmaking medium (intaglio, lithography, screenprinting, monoprinting, or relief). Residents will be expected to observe Highpoint’s studio policies, guidelines, and etiquette as well as the conditions outlined in the Jerome Resident contract. Artists are also expected to give a brief gallery talk during their exhibition. Priority will be given to artists who have had little or no opportunity to work in a professional, non-academic printshop environment. Artists may not be a student during the residency period (September 2015 – May 2016). Minnesota residency must be maintained during the entire program. In addition, applicants must have resided in MN continuously since September 1, 2014 or earlier. Highpoint Center for Printmaking provides equal opportunity to all individuals regardless of race, national origin, color, sex, age, religion, sexual orientation, or disability. Artists of color are strongly encouraged to apply.

The Workspace Program is open to emerging artists who live and work in New York State. Artists from all disciplinary and cultural backgrounds are encouraged to apply. Applications will not be accepted from students enrolled in undergraduate or graduate degree programs during the program year (July 1 – June 30). Applicants must be New York State residents and must be U.S. citizens or permanent residents of the U.S. No prior paper making experience is required. Applications are only accepted via our online application; please do not mail or e-mail application materials.

The Print and Picture Collection is pleased to announce PIX Open Call, our 2015 call for entries for juried two-person exhibitions. Area artists are invited to enter this open call, juried by photographer David Graham and printmaker Shelley Thorstensen. The deadline for application is June 5, 2015. We will have two Two Person Shows, beginning in September 2015, in the Print and Picture Hallway Gallery, on the second floor of the Parkway Central Library. We are looking for artists’ books, drawings, photography, and printmaking.

One artist will exhibit on the left wall, which is 34’ long x 4’ hanging space tall. The other artist will exhibit along the right wall, which has four flat top exhibition cases, with dimensions 56” x 26” x 6”, and three sections of wall space, which are 5’x 4’, 2’ x 4’ and 9’ x 4’. Please see the images below. PIX Open Call is open to artists within a 35-mile radius of the Print & Picture Collection (see the map below for specifics). Matthew Colaizzo, Emily Cucalon, Marianne Dages, Jeffrey Dents, Andrea Krupp, and Catherine Nelson are among the recent artists chosen for the PIX Open Call. Please follow the link to download our entry form with more details.

Revista Hispánica Moderna is accepting articles for a special issue on the history of the book. We welcome essays (both within and beyond the boundaries of Latin American and Iberian studies) that reflect on the book from its prehistory to its present—and beyond.

The history of the book may be one of the timeliest subjects in the humanities, and for obvious reasons. Today, the written word is produced, stored, distributed, and read in ways that challenge the traditional notion of the book. Responses to these circumstances range from the bleakest to the giddiest of predictions. Whether the book is dying or in the throes of rebirth, these changes are not just a source for theoretical speculation, but entail a radical transformation of the humanities themselves.

In this context, a critical assessment of the book and its history affords a unique opportunity not only to trace the material and institutional changes affecting the circulation of the written word, but also to reassess the value of certain concepts and paradigms that have dominated the humanities during the last century.

The book differs from such categories as text or work in that it is defined by presence—and presence is always historically determined. The first and most direct context of the text it contains, a book is not made of signifiers (abstract values within a system), but of ink or pixels. Each one of these traces on the page or on the screen is fossilized history—concrete marks left by the social and technological conditions that made it possible. Thus, the irreducible materiality of the book poses questions that the notion of text, on its own, cannot begin to ask. At each point in time, the book results from the intersection of the technological possibilities of the age, its epistemological paradigms, and its general and historical circumstances. Furthermore, the book embodies this intersection.

In the first part of his Panizzi Lectures of 1985, Donald McKenzie explains why and how to reassess the concept of text to incorporate not only its verbal dimension, but also the whole interaction of its many interwoven elements, including the binding, material support, writing instruments, etc. It is in this general direction that we believe scholarship should move.

Revista Hispánica Moderna welcomes essays (both within and beyond the boundaries of Latin American and Iberian studies) that reflect on the book from its prehistory to its present—and beyond.

Suggested topics include:

The book and the Humanities: Parallel Histories?
Written in stone: Engravings and Carvings
Unbound: The prehistory of the book
Quills, Types, Bits: A Teleology?
History or Eschatology of The Book?
Monopolization and Atomization: Global Conglomerates and Local Independent Presses
The Right to Copy: Reproduction and Authorship
The Book as a Commodity: Theories of Value
By the Book: The Book and Authority (Religion & Law)
Bookkeepers and Bookmakers: The book and the many meanings of accounting
Fetishes: The Aura of The Book
The Book as a Machine: Technology and Materials
The Book to Come: Does the Digital Book Really Exist?
Dictations and Declamations: The Book and Oral/Aural Literature
What We See When We Read: A History of Reading
Words and Pictures: Non-Verbal Aspects of the Book (Illuminations, Illustrations, Design)
Bibliophilia: An Etiology
Distant and Close Reading: Beyond Statistics and Hermeneutics.
Spines: What Is Hidden Inside Bindings? Recycled and Consolidated Books.
Proportions of the Book
Submissions: rhm@columbia.edu

Deadline: 9/01/2016

Length: 8,000 words

Languages: English, Spanish

The Mario Avanti Printmaking Award was established in 2013 under the auspices of the Académie des Beaux-Arts in Paris. Entries are open to contemporary printmakers from around the world, and the award is comprised of an exhibition and a $40,000 prize.

The Lyon-based Institut d'histoire du livre is offering 3 advanced courses in
the fields of book and printing history, taught by Neil Harris, François
Vinourd and Claudio Galleri with Eléonore Litim.

Check out our website (http://ihl.enssib.fr) for the updated detailed
presentations of the courses which now include course outlines as well as
preliminary reading lists for students.

Paper and watermarks as bibliographical evidence - Dr. Neil Harris (course in
English)

http://ihl.enssib.fr/en/book-history-workshop/courses/99265-paper-and-watermarks-as-bibliographical-evidence-neil-harris-course-in-english

Techniques et matériaux des reliures médiévales - François Vinourd (course in
French)

http://ihl.enssib.fr/ecole-de-l-ihl/cours/99268-techniques-et-materiaux-des-reliures-medievales

Image vagabonde : chemins et techniques de l'estampe européenne du XVe au
XVIIIe siècle - Claudio Galleri with Eléonore Litim (course in French)

http://ihl.enssib.fr/ecole-de-l-ihl/cours/99270-image-vagabonde-chemins-et-techniques-de-l-estampe-europeenne-du-xve-au-xviiie-siecle-cours-en-francais

The three classes run simultaneously at the enssib (French LIS university),
with practical sessions at the Lyon City Library, the Printing Museum and the
Lyon City Archives. The courses are aimed at a large variety of specialists
(librarians, curators, scholars, students, artisans, book collectors, graphic
designers, booksellers, etc.) who encounter questions related to the history
of the book, printing and graphic communication in the course of their work or
research. Each course is taught by a leading expert in the field with emphasis
on the study of original documents.

In order to facilitate access to collections and 'hands-on' study of original
documents, each class is limited to 12 students.

Course fees (one course - 4 days):

Full price: 500 euros

Student rate: 300 euros (required documents: a motivation letter, CV and a
copy of your university student card)

The course fees include the provision of study materials, tea/coffee breaks as
well as a welcome cocktail cum free entrance to the Lyon Printing Museum (on
Sunday, 21 June). It does not include meals and accommodation.

For more information and registration:
http://ihl.enssib.fr/en/book-history-workshop/sessions/99263-book-history-workshop-2015 /
ihl@enssib.fr
Dr. Sheza Moledina, workshop coordinator
smoledina@bm-lyon.fr
Bibliothèque municipale de Lyon
La Part-Dieu
30 boulevard Vivier-Merle
69003 Lyon, France
www.bm-lyon.fr
http://ihl.enssib.fr/en