The ideal candidate will join a team of 6 full time staff and report to the Curator of Prints and Photographs.

The ideal candidate will establish a range of museum collection initiatives designed to position the UNMAM as an educational platform that supports creativity and risk-taking, curricular innovation, cross-disciplinary collaboration, and civic and cultural engagement. The successful candidate will possess a deep commitment to interdisciplinary teaching and collaboration and a cross-disciplinary approach to original works of art.

This new hybrid position requires significant contact and communication with Museum staff, campus colleagues (faculty and students) and donors who represent the demographics of New Mexico.

The museum’s collection strengths are works on paper that include 10,000+ prints, 10,000 photographs and early cased objects, and nearly 1,500 drawings. Other notable parts of the collection include the Tamarind Lithography Archives (over 6,000 lithographs), and the Raymond Jonson Collection (over 2,400 works by Jonson and other artists). Other holdings include painting and sculpture from Europe, the Americas, and African Art. The Curator, in collaboration with other museum staff, will organize study room programs, exhibitions and other initiatives that engage the entire collection and serve the broader goals of the museum and the university.

Over the past several years, the UNMAM initiated several projects that present varied digital engagement opportunities for its audiences. The UNMAM views these and future digital projects as necessary tools and dynamic learning environments in which to serve the university community and general public.

Primary Responsibilities

Initial point of contact for faculty, students and researchers for collection access.
Pulls works on paper and other art from storage and returns objects to their proper locations.
Maintains museum collections database locations.
Coordinates viewings of artworks in study room.
Initial point of contact for collections donations and acquisitions.
Design collections-based exhibitions and initiatives that engage and enrich students, visitors, and the campus community.
Serve the museum and university community, cultivating academic exchange across campus in a variety of disciplines. Initiate relevant and proactive partnerships across the campus community that enable collections access for UNM Departments, Faculty, Students and Staff.
Develop an annual outreach plan that identifies and fosters relationships with the UNM audiences detailed above.
Communicate and collaborate with the museum staff (primarily the Curator of Prints & Photographs and the Collections Manager).
Develop and maintain evaluative metrics that address measurable impact.
May supervise student employees, Graduate and Research Assistants
Performs other duties as assigned.

Requirements

Bachelor's degree; at least 3 years of experience directly related to the duties and responsibilities specified.
Completed degree(s) from an accredited institution that are above the minimum education requirement may be substituted for experience on a year for year basis.

Preferred Qualifications
Master’s Degree in Museum Studies, Art History, American Studies, Art Education, or related humanities degree.
Demonstrated knowledge of art and art history. Possesses a broad understanding of the field of art history, including a range of periods, cultures, artistic trends and a willingness to research outside of their area of expertise.
Five years of related work experience in museums.
Knowledge of art handling best practices and collections care in a museum environment.
Ability to handle art storage boxes and objects up to 30 lbs.; ability to climb ladders and lift materials above head.
A deep commitment to interdisciplinary teaching with a contextual, cross-disciplinary approach to art.
Demonstrated ability to speak to small and large groups.
Second language competency (partic Spanish, Diné or Pueblo)

This opportunity, funded by the IFPDA Foundation, recognizes the importance of early career exposure to prints and printmaking to cultivating the next generation of scholars and curators in the field of fine prints. The Department of Prints & Drawings is offering the intern/fellow the prospect of assisting the Curator of Prints & Drawings with developing themes and researching modern and contemporary prints for upcoming installations in the museum’s Nancy and Rich Kinder Building. The intern/fellow will also contribute to the interpretive materials for these object-based installations.
The intern will help research prints for inclusion in the American and European art galleries in the museum’s Audrey Jones Beck Building, both of which have recently begun integrating works on paper into their permanent displays.
The intern will conduct provenance research on objects in the Department to update entries in TMS and curatorial files.
The intern will also assist in all aspects of department operations. The Intern will participate in various stages of exhibitions planning including creating checklists, conducting research, writing and editing didactic material, participating in design and installation, and generating original content for social media. The intern will also do independent research about works on paper in the Department of Prints & Drawings; assist in maintaining the department’s object and artist files; update information on the Department’s page on the MFAH web site; and update information about works on paper that will be visible on the museum’s online catalogue.
Learning Goals and Objectives:

This internship will provide invaluable practical experience to an individual interested in a career at an art museum, including training in art historical research and writing; identifying print and drawing techniques; gaining wide knowledge across the field of print history; learning art handling and storage procedures, and becoming proficient in The Museum System (TMS), a collection management database. The intern will work in the MFAH’s Works on Paper Study Center, the only facility of its kind in the American Southwest, and will work closely with the center’s staff.
Skills, Knowledge and Abilities:

Strong research, organization, and multitasking skills
Computer literate, with working knowledge of Microsoft Office
Excellent verbal and written communication skills
Pleasant, professional manner when interacting with staff and the public (as necessary)
Interest in or experience with works on paper preferred
Reading knowledge of a foreign language (French, German, Italian or Spanish) preferred
Education and Eligibility

Student currently enrolled in an undergraduate or graduate program or who recently (within one year) completed a Bachelor’s or Master’s degree in Art History (strongly preferred) or a related discipline are eligible for this opportunity.
Anticipated Schedule:

This part-time internship will comprise 200 hours spread over 13 weeks, with the intern working an average of 15 hours per week. The anticipated term is Tuesday, Sept. 6, through Friday, December 2, but adjustments may be considered to fit the intern’s schedule.
On-site working hours will be determined by the intern and Dr. Woodall based on the department’s schedule and the intern’s weekly availability.

Internship/Fellowship Stipend:

The intern will be paid an hourly salary of $15, generously funded by a $3,000 stipend from the IFPDA.

Please submit the following materials to interns@mfah.org by Friday, August 19, 2022.

- Letter of interest describing your experience and professional goals as relevant to this opportunity (maximum 1000 words)
- Résumé/CV
- Writing sample (10-page limit)

When submitting application materials, please include the name of the internship or fellowship in the subject line of your email.

Notifications will be sent out on 8/26/2022. Only applicants who are selected for an interview will be contacted.

The Benton Museum of Art seeks a Curatorial Assistant. This position is a full-time, benefits-based position. The Curatorial Assistant will support the Director and Senior Curator in conceptualizing, organizing, and managing exhibitions and installations of varying scale, including a wide range of future projects including presentations of Viceregal Latin American art, early modern European prints and drawings, and exhibitions treating the work of Fred Eversley, Christina Fernandez, June Harwood, Wardell Milan, and Kameelah Janan Rasheed.

The Curatorial Assistant will participate in a range of tasks including: research; writing of catalogue and didactic materials; producing and maintaining exhibition checklists and image files; coordinating loans and installation plans; developing and monitoring budgets; presenting public talks; managing exhibition schedules; and serving as liaison to other institutions and College departments. The curatorial assistant will participate in the ongoing effort to build, present, and interpret the College's permanent collection which includes writing reports on possible acquisitions and building presentations for committee meetings. Additionally, to support the museum's focus on emerging and under-recognized artists, they will keep abreast of the contemporary art world by maintaining contacts with colleagues in the field and developing knowledge of international, national, and local artists, new scholarship, and literature in the field.

Applicants must demonstrate a knowledge of and commitment to the interpretation of art, art history, art exhibitions, and collections for audiences in different stages of learning. The successful candidate will be highly motivated, organized, detail-oriented, and will possess strong communication skills. The candidate should be skilled at working collaboratively and creatively in a team environment. The candidate will demonstrate the ability to meet deadlines without close supervision and to manage multiple projects. In addition, the candidate will demonstrate professionalism in written, oral, and inter-personal communication.

The position will report to the Senior Curator and will work closely with the Director and other staff members.

This position is made possible with support from the Getty Foundation through its Getty Marrow Emerging Professionals Pilot Program.

QUALIFICATIONS: M.A. in art history (or equivalent) preferred, but not required. 1-2 years relevant museum experience preferred. Strong writing skills are required.

The individual must be an alumna/us/I of the Getty Marrow Undergraduate Internship program.

New employees are required to show proof of full vaccination against COVID-19 or request a Pomona College-approved medical or religious exemption on or before their first day of employment. If you are unable to do so, at the College's sole discretion, it will work with you to reasonably adjust your start date.

REQUIRED HOURS: The regular hours for this full-time position are 8:00 a.m. to 5:00 p.m., Monday - Friday. Holiday, weekend and evening work hours may be required. Regular hours may vary due to needs of the College or Division.

ADDITIONAL POSITION DETAILS: Temporary, full-time, benefits eligible, non-exempt position. This position is funded by The Getty Foundation. Initial term of employment is two years with possibility for renewal. Starting pay rate: $26.44 per hour.

As a California employer, Pomona College requires all employees to be residents of California.

TO APPLY: For full consideration, please submit cover letter addressed to Senior Curator Rebecca McGrew, resume, and a short writing sample (1,500 words or fewer) by September 1, 2022. You may submit both resume and cover letter as one attachment in the My Experience section of the application under the "resume/CV" upload section, or as separate attachments. Once you submit your application, you will not be able to attach additional documents.

Postgraduate Associate

Curatorial Division, Yale Center for British Art

The Yale Center for British Art (YCBA) is offering a curatorial Postgraduate Associate position for one year, with the possibility of a one-year renewal, in the Prints and Drawings Department. This position is open to graduates who are seeking to gain experience to pursue a curatorial career. A demonstrated interest in works on paper is preferred, and candidates should not have a PhD.

The Postgraduate Associate will report to the Assistant Curator of Prints and Drawings and will contribute to a range of activities in the Prints and Drawings department, and the broader Curatorial Division. This position provides the opportunity to gain firsthand experience and professional training in curatorial work and handling of works on paper. The subjects of upcoming confirmed exhibitions connected to this department include J.M.W. Turner, the Trinidadian artist Michel Jean Cazabon, and art produced for the British East India Company. The postholder will be fully integrated into the department and will contribute significantly to exhibition planning, research, organization, and installation; cataloguing; provenance research; and other departmental activities. The Postgraduate Associate will undertake research on works in the permanent collection and will gain training in acquisitions and collections development. The postholder will assist with classes using the collection and will organize a study day, workshop, or symposium with the Research Department.

The closing date for applications is August 15, 2022. For salary information, please refer to Yale’s compensation policies for postgraduate appointments.

Application materials should be sent by email and need to include a cover letter, CV, recent writing sample, and contact information for two professional references. Please send all application materials to ycba.research@yale.edu, with the subject line ‘Curatorial Postgraduate Associate Application.’ For enquiries about the position, please contact Jemma Field at Jemma.field@yale.edu

Reporting to the chief curator, the Lunder Curator of Works on Paper and Whistler Studies advances curatorial work related to prints, drawings, and photographs at the Colby College Museum of Art including exhibition development, collection research and interpretation, and teaching. The curator augments and illuminates the museum’s transhistorical and transnational works on paper collections through exhibitions, collection rotations, and acquisitions, and advises the museum and its benefactors on art purchases and gifts of art.

Since its founding in 1959, the Colby Museum has collected works on paper and several major gifts have had a transformative impact on these holdings. This includes gift of watercolors and other works by John Marin from Norma and John Marin Jr.; the establishment of the Alex Katz Collection in 1992; the partial gift, partial purchase of the Terry Winters print archive in 2002; and the bequest of Paul J. Schupf (1937–2019), which features a major collection of Richard Serra prints. In addition to the Marin family gifts, Norma Marin offered a promised gift of her exemplary collection of German Expressionist prints and American photographs, and the museum’s photography collection has greatly benefited from the Tsiaras Family Photography Collection, 500 photographs collected by Colby alumnus Dr. William Tsiaras ’68. The gift of the Lunder Collection in 2013, and a second gift in 2017, when the Lunder Institute of American Art was established, brought hundreds of works by James McNeill Whistler to Colby and this collection has grown to include additional works by Whistler as well as gems from the history of Japanese and European printmaking. The Lunder Collection also includes notable depth in the works of Mary Cassatt, Arthur Wesley Dow, and Jacob Lawrence. With the Lunder Collection as a touchstone, the Curator of Works on Paper and Whistler Studies manages the Lunder Consortium for Whistler Studies with other organizational partners in the field, representing Colby in this international consortium. This includes sustaining relationships, envisioning and shaping impactful projects, and ensuring opportunities for students to learn and gain professional experience as part of the consortium’s initiatives.

The curator stewards select archives related to the works on paper collection and contributes to the museum’s commitment to illuminating new, understudied aspects of art history, including the history of American art, a primary programmatic focus. The work of this curatorial leadership role is collaborative and includes fostering relationships with colleagues at the museum, faculty, students, and local and regional residents. The curator works closely with the museum’s Board of Governors and campus, local, regional, and national communities and also collaborates with Advancement and others at the museum to facilitate fundraising and public communications efforts. In the curator’s area of focus, they advance the museum’s strategic plan and cultivate opportunities for the museum and its Lunder Institute for American Art.

Fore details on essential responsibilities, qualifications requirements, and how to apply, please visit external link.

The Hamilton Wood Type & Printing Museum Wayzgoose will take place live and in-person in Two Rivers, Wisconsin November 4-6, 2022. Wayzgoose is Hamilton Wood Type & Printing Museum’s annual conference where print and design experts worldwide gather to share their knowledge with type, graphic design, and letterpress enthusiasts.This year we are excited to accept proposals for 20-minute speaking topics and full-day, hands-on workshops. Apply by July 12, 2022.

If you have any questions, please contact the museum at info@woodtype.org or at (920) 794-6272.

Follow the link below for more information and to submit your proposal.

Division of Prints & Drawings
Thaw Colloquium on Connoisseurship
November 14–16, 2022

The Thaw Colloquium on Connoisseurship is a biennial program designed to encourage the close examination and scrupulous evaluation of the visual and material aspects of works of art on paper. Intended for curators and curatorial research fellows at the early stages of their professional careers, the Colloquium consists of a three-day seminar at the National Gallery of Art led by its curatorial staff, conservators, and guest experts. It focuses upon original works in the Gallery’s own collection, alternating between prints and drawings. The Colloquium is generously funded by the Eugene V. and Clare E. Thaw Charitable Trust.

This year, the Thaw Colloquium will concern drawings as a medium: old master, nineteenth-century, and modern, as well as contemporary. The matters to be considered will include: determination of period and culture of origin; identification of materials, techniques, and process; intention and function; the question and assessment of aesthetic quality; approaches to problems of attribution; and interpretation of condition. Further discussion will involve how these matters affect curatorial responsibilities and decisions: evaluation of institutional holdings; priorities for research and treatment; subjects for interpretation and presentation; and strategies for acquisition.

Funding from the Thaw Trust will allow the National Gallery of Art to cover all the expenses of participants: travel to Washington (including international), accommodations, and daily expenses.

Requirements: Participants will have a demonstrated commitment to prints and drawings, including at least two years of curatorial experience in a department of works on paper and advanced academic study in art history concerning the graphic arts.

Applicants should send a letter of interest and curriculum vitae by July 29, 2022, to:

Mollie Berger Salah
Curatorial Associate
Division of Prints and Drawings
National Gallery of Art
connoisseurship@nga.gov

Applicants selected to participate will be notified of their acceptance to the 2022 Thaw Colloquium on Connoisseurship by August 19, 2022.

Variety, Variation, Multiplication in the art of the 14th to 18th centuries shall be the subject of the seventh conference in the series "Interdependencies. The arts and their techniques". Instead of focusing on the standardising effect of reproduced artworks and printed images (e.g. through the establishment of certain types of images and the standardisation of knowledge), we want to question the variants and their variances arising through printing and moulding processes or further processing. On the one hand, we are interested in the differences between the originals and the repetitions. On the other hand, we want to explore the margin opened up by the respective production process as well as by the possibilities of further handling: How do the products relate to their “prototype” and each other? Do the variances result from intentional interventions or, the production process? What is the function of the medium of transfer? What is the effect of the change in materiality? What forms of further processing can be observed? How can common and singular characteristics of the reproduced works be described? What connects two- and three-dimensional reproductions and how do they differ? And last, but not least: How has the tension between similarity and deviation been received? Did it play a role in the perception of contemporaries or was it ignored?

All those interested in the conference are invited to submit an abstract of no more than 5,000 characters together with a short CV. Please send your proposal by August the 1st, 2022, to: Prof. Dr. Magdalena Bushart (magdalena.bushart@tu-berlin.de) und Dr. Andreas Huth (andreas.huth@tu-berlin.de).

Please visit the link below for more information.

The expression "danse gravée" has long designated the dance notation practices of the 18th century, since the diffusion of the Feuillet notation from 1700. The repertoire of engraved contredanses, published and distributed in the form of collections, small notebooks or booklets, notably from the 1760s and the Répertoire des bals by de La Cuisse, is relatively well known. However, the technique itself, the networks of collaboration between engravers and dance masters remain little studied: engravers in music, in mathematics, in geography, masters in writing, are also engravers in dance, when it is not the dance masters themselves who practice intaglio. The place of women engravers, editors and booksellers (Mme Castagnery) will be widely discussed during these days. The aim here is to understand the way in which choreographic practices in the 18th century fit into a network of printmaking know-how, professional and amateur practices, by questioning the modalities of dance engraving in a wider field of technical engraving, in geography, in science, or in music. The commissions made by dance masters to certain engravers also indicate a desire to move from a technical image to an artistic one, shaping works with sometimes very different costs and uses. Particular attention will be paid to the French and British contexts and to the circulation of plates and models from one side of the Channel to the other.

These days intend to bring together scholars from different disciplines who share the same field of research around printmaking, beyond the choreographic field. As there are very few works on printmaking in dance, these two days will also be considered as moments of collective reflection to which researchers not working specifically on choreographic practices are warmly invited.

Follow the link below to learn more about the event.

CALL FOR APS-SPONSORED SESSION PROPOSALS

The Association of Print Scholars invites submissions for its sponsored sessions at the Renaissance Society of America conference, to be held in San Juan, Puerto Rico from 9 to 11 March, 2023.

APS-sponsored session proposals may be related to any theme of Renaissance and Early Modern printmaking, or any aspect of print scholarship for the era 1300–1700. RSA is a multidisciplinary society, and we especially welcome session proposals that transcend geographic and disciplinary boundaries, as well as those that engage current theoretical interests in historiography, materialism, archival theory, bibliographic studies, or social history.

Series of sessions in honor or in memory of an individual scholar are limited to two sessions per honoree. Co-chaired sessions are welcome; junior and senior scholars are encouraged to collaborate.

You do not need to be a member of RSA to submit a session proposal to APS, but all accepted participants must become RSA members for 2023 and register for the conference. Please note that proposing a session or a paper indicates your commitment to attend.

Chair or co-chairs must be members of APS, however, please note that those currently serving as APS officers, whether elected or appointed, may not submit conference proposals for panels sponsored by the organization during their tenure, although are welcome to participate in the selected panel.

How to submit a session proposal for APS sponsorship:
To propose an APS-sponsored session, please submit your session title along with a 250-word abstract describing the topics and issues of printmaking that your session will address. Applicants do not need to propose a full panel of presenters in order to submit a session proposal. Submissions should include a two-page CV for each chair. In the subject line, please indicate “APS-Sponsored session proposal RSA 2023” and send to rsacoordinator@printscholars.org

DEADLINE:
Submission deadline for all session proposals is:
Friday, 1 July 2022

Acceptance decisions will be communicated to submitters by Friday, 15 July 2022.