The Clark is looking for a Curatorial Assistant for Works on Paper.

Position Summary:
Responsible for performing a variety of duties and project assignments primarily related to curatorial functions and as assigned by curatorial staff. Supervises Manton Study Center for Works on Paper. This is a full time, one year benefitted project position renewable for a second year.

Starting Salary: $19.00/hour

Major Duties and Responsibilities (Essential Functions):
- Oversee Manton Study Center for Works on Paper, including scheduling and outreach, art movement, monitoring of class visits and individual appointments, and coordination of public programs. Help supervise graduate interns assigned to Manton Study Center.
- Assists with preparations for upcoming exhibitions and gallery rotations including object-related research, label writing, preparing of grant materials, provenance research, organizing and tracking checklists and status of loan requests, and assisting with mockups of installation layout and design.
- Research new acquisitions as requested by curators.
- Assist with creation and maintenance of documentary files for collection objects; research and document changes to collection object data; assist with inventory and other collection- related duties as needed.
- Draft correspondence related to outgoing loan requests, circulate for departmental review, and finalize letters for the Director’s signature.
- Assist with coordination of materials for exhibition catalogs, including gathering and verifying of content, updating of checklist information, assisting with image research, and preparing texts for publication as assigned.
- Research and respond to public inquiries about the Clark’s collections and individual works of art.
- Act as a courier for works of art leaving from or returning to the Clark, as requested.
- Assist with planning for programs related to exhibitions and curatorial projects, and develop and implement programs for Manton Study Center. Attend and participate in planning meetings as requested.
- Provide tours as needed to visiting groups and individuals.
- Other duties as assigned.

Minimum Qualifications:

Education, Training, and Skills
- Master’s in Art History.

Work Experience
- Minimum of 1-2 years relevant experience preferred.

For more details and how to apply, please visit external link.

CFP | Transporting Culture - Art, Objects, and ‘Early Modern Logistics’
Abstracts due by June 1, 2022
Symposium date: October 20, 2022
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Recent art historical emphasis on objects' biographies and their place in global networks of exchange during the early modern period have drawn increasing interest to the journeys of things, their points of origin, and their final destinations—a field of study perhaps best labeled “Early Modern Logistics.” Taking up this subject, this session aims to enrich our understanding of objects of cultural production - from paintings to pots - by examining them specifically in the context of their transportation. Understanding the state of movement between the sites of production and reception as a shifting and notionally impermanent context, we hope to examine how logistical demands left their mark on the lives of objects. Lost, broken, stolen, materially or aesthetically modified, bartered, and reclassified, the transported object offers a unique point of entry to explore forms of local knowledge, micro-cultures, and the realities of premodern journeying that remain underrepresented in current art historical discourse.
***

Potential topics include, but are not limited to:

a) How a consideration of material culture as cargo requires us to rethink traditional art historical concepts

b) How problems posed by climate and terrain influenced the way in which art and objects were packaged, modified, and classified

c) How local customs and knowledge networks intersected in the wider biographical journey of art and objects

d) How objects’ aesthetic properties were altered by, or in conversation with, the requirements of transportation.

e) How the logistical demands of the contemporary moment (shaped by the automation of transport and the globalization of the supply chain) have inflected our understanding of both human agency and the unique requirements of geography, climate, and terrain in early modern logistics (and vice versa).
***

Offered online as part of the Historians of Eighteenth-Century Art and Architecture (HECAA) Zoom Event Series, “Transporting Culture -- Art, Objects, and ‘Early Modern Logistics’” will take place on Thursday, October 20, 2022 as a half-day symposium. Please submit an abstract of max 300 words along with your CV to Harvey Guy Shepherd (Harvey.Shepherd@courtauld.ac.uk) and Lorne Darnell (Lorne.Darnell@courtauld.ac.uk). Deadline for submission is June 1st, 2022.

The University of Maryland’s David C. Driskell Center for the Study of Visual Arts & Culture of African Americans & the African Diaspora is pleased to announce the inaugural competition for The David C. and Thelma G. Driskell Award for Creative Excellence.

The David C. Driskell Center

Committed to preserving the rich heritage of African American visual art and culture, the David C. Driskell Center was established in 2001 to provide an intellectual home for artists, museum professionals, art administrators and scholars who are working to expand and deepen the field of African diasporic studies in the visual arts. Housing artistic collections, archival papers and a research library, the center is a major repository for the study of African American visual culture.

About the Award

The David C. and Thelma G. Driskell Award for Creative Excellence is designed to provide emerging scholars and artists with access to the center’s collections in order to conduct new research or create new artistic work that furthers the center’s mission of expanding and deepening the field of African diasporic studies in the visual arts. The awardee will be expected to commit to 2–3 weeks in residence at the Driskell Center between the summer of 2022 and the summer of 2023. While the Driskell Center will serve as the primary location of research, the University of Maryland’s proximity to Washington, D.C. also opens up other locations for study, including the National Museum of African American History and Culture (and the other museums of the Smithsonian), the National Gallery of Art, and a variety of historical sights and monuments. Over the course of the residency, the awardee will document their work through a series of public writings and participate in public programming of their work at the Driskell Center. The project should be substantially complete by the summer of 2023.

Award

The awardee will receive a stipend of $5,000 and lodging on or near the University of Maryland campus for the duration of their award period.

Eligibility and Evaluation

We welcome proposals from emerging scholars, including graduate students and those who have completed graduate degrees within the last five years. To apply, please send (1) a project proposal of no more than 1000 words, (2) a resume and (3) one letter of reference to arichers@umd.edu by May 15, 2022. The proposal should outline relevant experience and accomplishments, the proposed creative or research topic, an explanation of how the center’s holdings will support that topic, and a proposed timeline for the residency.

For full information, visit External Link below.

The Stacy Lloyd III Fellowship for Bibliographic Study is awarded annually to one outstanding early-career scholar, working in some area related to the history, art, and culture of plants, gardens and landscapes. This is the Oak Spring Garden Foundation’s most prestigious award for researchers and scholars in the humanities. The award includes a $10,000 individual grant and requires a 2 - 8 week stay at Oak Spring. This fellowship is granted to an exceptional researcher who is developing a new body of research that would especially benefit from access to Oak Spring’s library.

In 2023, the individual selected for this award will be asked to spend 2 - 8 weeks at Oak Spring where they will be able to meet with staff, explore the 700-acre landscape and observe efforts in sustainable land management, and visit Oak Spring rare book library that holds over 19,000 objects, including many examples of botanical art. The Fellow will have ample time and space to work independently on their own projects during their stay. The only requirement during their time at Oak Spring will be to give one 20-30 minute presentation with time for questions, to Oak Spring staff and any other fellows, residents, or other program participants who might be on site.

Application Process

To begin an application, please go to https://osgf.submittable.com/submit and locate the ‘2023 Residency and Fellowship Programs’ application. Please note that there is one application for all of OSGF’s 2023 residency and fellowship programs, and you will be prompted to select which programs you would like to be considered for. You will be asked to submit:

1. a resume/curriculum vitae (not to exceed two pages),

2. a 200–300-word statement on your current research or scholarship,

3. a 200 - 300 word statement on how your work relates to the Oak Spring Garden Foundation’s mission to “perpetuate and share the gifts of Rachel (“Bunny”) Lambert Mellon, including her residence, garden, estate and the Oak Spring Garden Library, to serve the public interest. OSGF is dedicated to inspiring and facilitating scholarship and public dialogue on the history and future of plants, including the culture of gardens and landscapes and the importance of plants for human well-being,”

4. any and all relevant links/up to 10 pages of writing that demonstrates your research outputs and current scholarly interests.

NOTE: When applying to this fellowship, you will be asked if you are interested in being considered for one of OSGF’s interdisciplinary residencies, if you are not selected for the Stacy Lloyd III Fellowship. To learn more about those residencies, visit www.osgf.org/residencies.

Eligibility

Eligible applicants must be early-career researchers completing a terminal degree, or who have completed a terminal degree within the past five years. The selected early-career researcher must be self-directed and able to work independently while on site. Applicants are expected to show exceptional promise with an ability to state how use of Oak Spring’s library will contribute to their research objectives, exceptional promise, good communication skills and excellence in what they have accomplished or plan to accomplish.

Dates

The dates of the Fellow’s residency will be scheduled in consultation with OSGF staff and should fall between Monday, June 12, 2023 - Saturday, November 18, 2023.

Other information

The selected Fellow should make travel arrangements to Dulles International Airport, where OSGF will arrange transportation for them to our estate in Upperville, VA. The Fellow will reside in a nicely appointed, self-catering accommodation during their time at Oak Spring. The fellow will have a private bedroom and bathroom, and share a living room and kitchen.

For additional information click on the External Link below.

In 1924, Arthur O. Lovejoy raised the fundamental question of whether Romanticism could be characterised as a comprehensive movement that transcended national and linguistic borders. Lovejoy’s critical reflections on the diversity of Romanticisms have met with divided responses. While some researchers, notably René Wellek (1949), believed that they could identify enough common characteristics in the Romanticisms to speak of one movement, others shared and supplemented the reservations Lovejoy had formulated. More recent comprehensive German monographs on Romanticism demonstrate that the issue is still controversial today: Rüdiger Safranski has subtitled his survey “A German Affair” (2007, engl. 2014) and understood Romanticism as a German phenomenon at its core. However, the literary scholars Stefan Matuschek (2021) and Rüdiger Görner (2021) have resolutely highlighted the European dimension of Romanticism and, thus, the commonalities between different national forms.

In relation to Romantic art, the situation is by no means simpler or clearer. Here, the question of whether to talk about several independently considered Romanticisms or one European Romanticism has seldom been asked. An overall view of the “Romantic Movement”, as attempted in the Council of Europe exhibition at the Tate Gallery in 1959, has rarely been attempted in recent decades. Monographs, such as those by William Vaughan (1978), Hugh Honour (1979) or Maria Teresa Caracciolo (2013), have not stimulated a broad, sustained research discussion on the question of the similarities and differences between the Romanticisms in visual art. Art historical research on Romanticism is open to interdisciplinary dialogue to a large degree but only selectively crosses the boundaries of respective language areas. A research history characterised by national discourses could be responsible for the impression that pictorial Romanticisms seem to show irreconcilable differences. Possible overarching similarities hardly come into the focus of research, not least because too little is known about more recent work and discussions on Romanticisms in other languages.

The proposed conference aims to encourage researchers to engage with and work on the problem outlined above. It does not seem promising to immediately propose hypotheses for discussion that aim to answer how a unity or at least affinities of Romantic painting in Europe could be established. Instead, the various research discourses on Romanticism in visual art should first be assembled for in-depth discussion. To avoid too great a heterogeneity of the contributions, we suggest focusing on painting, drawing and printmaking, and thus on those art forms in which Romantic impulses are probably most evident.

The presentations should address one of two topics: A few contributions in the programme could put forward general theses on the status of a significant part of research on Romanticism. The focus should be less on specific individual results and more on central issues, theoretical and methodological developments or blind spots in recent research. The majority of the conference contributions could focus on ongoing or recently completed research projects. Of particular interest are lectures that offer insights into projects that can be considered as innovative contributions to general research on Romanticism. Based on the respective specific examples, these lectures should present the more general questions, perspectives and theses for discussion that are pursued in the project or result from it. In this way, we hope to arrive at a meaningful, even though, inevitably, incomplete overview of tendencies in research on Romanticism. For all contributions, the speakers should show the courage for abstraction and tentative generalisation. By choosing such a perspective, possible similarities between the various forms of Romanticism in painting and graphic art can emerge.

See External Link for more information.

The Print Center has a strong history of welcoming artists, audiences and participants of diverse backgrounds, races, religions, sexual orientations, genders, and gender identities and/or expressions. The Print Center values diversity in staffing, leadership, programming and the range of communities with which we engage. We are committed to the ongoing work of upholding these values and believe removing barriers to inclusion is critical to the future of our society. We support and seek to give voice and visibility to emerging and established artists of all races, ages, sexual orientations, genders and gender identities and/or expressions. We welcome and encourage the participation of individuals of all backgrounds who are inspired by our shared purpose. We honor the power of photography and print to raise and amplify a multiplicity of voices. We are committed to fostering that power to advocate for change as well as supporting artists working for equity and justice in our exhibitions and programs.

Any artist using Photography and/or Printmaking as critical components in their work can enter. Artists whose work pushes the boundaries of traditional photographic and printmaking practices are encouraged to enter. 2D and 3D works are eligible.

The ANNUAL is one of the oldest and most prestigious competitions in the United States. Open to local, national and international artists, The Print Center is particularly interested in highlighting the use of photography and/or printmaking in new and intriguing ways, both in content and process.

Dr. Makeda Best is the Richard L. Menschel Curator of Photography and Interim Head, Division of Modern and Contemporary Art at the Harvard Art Museums.

Curlee Raven Holton is the Executive Director of the David C. Driskell Center at the University of Maryland and The David M. and Linda Roth Professor of Art, emeritus, at Lafayette College, Easton, PA where he founded the Experimental Printmaking Institute.

The jurors will select a group of 25 Semifinalists and 10 Finalists.
A wide variety of exhibition, museum acquisition, cash and material prizes are provided by supporters of the ANNUAL to be awarded to Semifinalists and Finalists, including:

• Three Solo Exhibitions at The Print Center (Finalists only)
• Stinnett Philadelphia Museum of Art Collection Award
• Pennsylvania Academy of the Fine Arts Purchase Award
• Art Museum of West Virginia University Purchase Award
• The Jacqueline L. Zemel Prize for Printmaking
• The Print Center Honorary Council Award of Excellence
• Stockbridge Fine Art Printing Award ($250 value)
• The Print Center Honorary Council Award of Excellence
• Two-year Print Center Gallery Store Contract
• Numerous additional cash and material prizes awards

The J. Willard Marriott Library seeks an engaged professional for the position of Book Arts Studio Manager & Instructor. This tenure-track, twelve-month faculty position teaches academic courses and community workshops, provides organizational support, supervises staff and interns, and oversees Book Arts Program (BAP) and Red Butte Press (RBP) projects. This position manages the ongoing maintenance of the print studio (digital and analog) and acts as safety officer, liaising with campus Environmental Health & Safety. As part of a creative production team, this position acts as Lead Printer and oversees marketing & promotion efforts for Red Butte Press editions.

The Studio Manager and Instructor contributes to curriculum development while teaching (or co-teaching) semester-length and short courses in book arts and/or art foundations. The position provides strategic leadership and management of day-to-day activities, including supervision of studio staff, curating and installing exhibitions, guiding collaborative efforts, and otherwise supporting the dynamic needs of the program.

We seek qualified applicants who also bring perspectives and experiences that will enrich and strengthen our organization. We invite applications from candidates who may not have followed a traditional educational or professional path. All candidates should be prepared to discuss how they see themselves contributing to the University’s equity, diversity, and inclusion efforts. The library serves an increasingly diverse constituency of patrons, and our employees, services, collections, and policies should honor and reflect this diversity. We are therefore interested in identifying and interviewing candidates who have experience with underserved or marginalized communities and communities of color and who are committed to advancing our mission to provide equitable access to information resources.

Relocation to the Salt Lake City, Utah area is required and will be financially supported by house hunting and moving allowances.

Qualifications:

Master’s of Fine Arts in Book Arts or a related field or equivalency, plus two years’ experience required; background teaching credit-bearing courses in a university setting or equivalent; demonstrated human relations and effective communication skills are also required.

Evidence of potential to meet the professional requirements of a tenure-track position through research, librarianship, and service.

Appointment at the Assistant Librarian level will require demonstrated potential for scholarly engagement and evidence of a clear research focus.


Responsibilities:

This position requires familiarity with the techniques and trends of contemporary Book Arts practice, including managing and maintaining the equipment preserved in the letterpress studio. The successful candidate will demonstrate effective teaching, creative and/or scholarly research, and an ability to develop creative solutions in a collaborative setting. The position requires a commitment to fostering a vital educational environment and ability to work with a diverse student and faculty population. As a member of the Marriott Library faculty, the Studio Manager is expected to produce academic and creative work as part of a research program while participating in Library governance and professional service.

The duties, qualifications, and preferences listed in this posting are intended to give applicants an understanding of the core functions of this role as well as the types of skills, experience, and education that may have prepared someone to be effective in this role. We do not expect any candidate to be a perfect match for this list or to perform all of the duties with equal proficiency on day one. In your resume and cover letter, please highlight the most relevant qualifications you would bring to this position based on the posting, and tell us how your background, perspective, and experience will help us fulfill our mission an

The School of Art + Design at Western Carolina University invites applications for a full-time Visiting Assistant Professor, 9-month fixed term faculty position specializing in Printmaking , Book Arts and 2D disciplines, beginning in Fall of 2022. We seek an artist and educator with an interdisciplinary research and creative practice who is willing to collaborate across multiple disciplines. Review of applications will begin on or about May 2, 2022 and will continue until a candidate has been selected.

Our program houses facilities in Ceramics, Sculpture, Photography, Printmaking + Book Arts, Painting/Drawing and Design, and offers a BA, BFA, MFA in studio art and is designed to encourage independent research and creative risk- taking.

Western Carolina University is located on a 682-acre mountain campus in Cullowhee, NC, 50 miles west of Asheville, and situated within the ancestral homelands of the Cherokee people, 20 miles from present-day Eastern Band of Cherokee Indian communities of the Qualla Boundary. Our piece of Central Appalachia is one of the most biodiverse regions in the world.

Position Duties:
Service - The successful candidate is expected to oversee maintenance of the printmaking studios, which will include supervision of an assigned student worker.
Research/Creative Pursuits - Candidates will demonstrate a robust exhibition and creative record which they will be expected to maintain.
Teaching - Candidates are expected to teach all levels of Printmaking for BA, BFA and MFA programs. Additional teaching responsibilities may include foundations courses as per departmental needs. 4 courses per semester

Minimum Qualifications:
MFA in the visual arts or related field required at time of appointment.
A minimum of 1 year of teaching experience at the university level required and/or GTA teacher of record in area of specialty.

Special Instructions to Applicants:
Application must be made on-line. Please include a cover letter, curriculum vitae, unofficial transcripts, a list of at least three professional references with complete contact information, and a portfolio of work samples (student and self) via a PDF document or website reference.

For additional information or questions contact Tom Ashcraft, MFA Director, Distinguished Professor of Visual Art at tdashcraft@wcu.edu

Western Carolina University recognizes diversity and inclusivity as fundamental to its learning community and integral to an art and design education. We welcome candidates whose experience in teaching, scholarship, and/or service has prepared them to contribute to our commitment to diversity and excellence.

Carnegie Statement:
WCU embraces its role as a regionally engaged university and is designated by the Carnegie Foundation for the Advancement of Teaching as a community engaged university. Preference will be given to candidates who can demonstrate a commitment to public engagement through their teaching, service, and scholarship.

Western Carolina University is an Equal Opportunity/Affirmative Action Employer. All qualified applicants will receive consideration for employment without regard to race, color, religion, sex, sexual orientation, gender identity or expression, national origin, age, disability, genetic information, and veteran status, consistent with applicable federal, state and local laws, regulations, and policies, and the policies of The University of North Carolina. Additionally, the University promotes the realization of equal employment opportunity for minorities, women, persons with disabilities, and veterans through its affirmative action program.

Persons with disabilities requiring accommodations in the application and interview process please call (828) 227-7218 or email at jobs@email.wcu.edu.

Final candidates are subject to criminal & sex offender background checks. Some vacancies also require credit or motor vehicle checks.

The Department of Art and Art History at Loyola Marymount University invites applications  for a full-time, tenure-track Assistant Professor appointment in Printmaking: Art and Design for Social Justice. The ideal candidate will provide oversight of the Printmaking area and teach courses across the scope of printmaking processes which include lithography, silkscreen, intaglio,  monoprints,  relief and emerging digital technologies, with an emphasis on introducing non-toxic and sustainable processes. Though based in Printmaking, applicants should complement the Art and Design curriculums by extending opportunities in the development of new courses in one or more of the following areas: Social Practice, installation, letterpress and book arts, collage, and textiles.

The Department seeks applicants whose research activities are rooted in social justice or postcolonial critiques and whose background, research, expertise, or experiences will contribute to the disciplinary diversity within the Department. The experienced candidate should have evidence of strong teaching (a minimum of 5 years college level teaching or equivalent in the printmaking discipline) across the range of printmaking media, and a comparable exhibition record demonstrating engagement with printmaking as a medium of social, racial, economic, environmental or gender justice. The candidate needs to show evidence of managing a printmaking studio and supervising student workers and/or part time faculty. The ideal candidate will be expected to build connections with community organizations in Los Angeles and will be knowledgeable of the tradition of printmaking as a medium of social activism, protest, and resistance. As a full-time faculty participation in departmental activities and/or university committees is required.

Candidates are required to have a terminal degree in Printmaking or the Visual Arts.

 Applicants should submit a complete dossier, including (1) a letter of application including a link to a website portfolio of creative/scholarly work, (2) a curriculum vitae, (3) graduate school transcripts showing a terminal degree (MFA), or (BA/BFA) with equivalent experience as a master printmaker, (4) a statement of teaching philosophy including a statement related to Diversity, Equity, and Inclusion and (5) 3 letters of recommendation.  

IMPORTANT - Applicant please be aware that Workday has a limitation on the number of documents an applicant can upload (5 documents) as well as size limitation (5 MB).  If you have documentation that exceeds the above referenced Workday limitations, please email additional materials to:  

To ensure the safety and well-being of our community, Loyola Marymount University requires that all students, faculty and staff are vaccinated or have been approved for a qualifying medical or religious exemption.  

Loyola Marymount University, founded in 1911, is a comprehensive, Carnegie-classified R2 institution in the mainstream of American Catholic higher education. Located on the west side of Los Angeles overlooking the Pacific, LMU is one of the nation's 28 Jesuit colleges and universities and five Marymount institutions. It serves 6200 undergraduates and over 3000 graduate students in the Colleges/Schools of Liberal Arts, Science and Engineering, Business Administration, Communication and Fine Arts, Film and Television, Education, and Law. 

Loyola Marymount University seeks outstanding applicants who value its mission and share its commitment to inclusive excellence, the education of the whole person, and the building of a just society. LMU is an equal opportunity employer committed to providing an environment free from discrimination and harassment as defined by federal, state, and local law. We invite all persons in the full diversity of their being, life experiences, and beliefs to apply.

The Art Students League of New York ("The League") has a unique opening for an Art Instructor to teach a Printmaking class beginning June 2022 . The class meets five days per week for 3 1/2 hours, and the instructor is required to be present two days per week. A studio monitor or Teaching Assistant helps run the class on the other three days.

To Apply:
Interested candidates should e-mail (in PDF format) a letter of interest, teaching philosophy, artist statement, and artist’s CV. Please also send a link to an online portfolio or website where creative work (15-20 samples) can be viewed. Include specs, media, and date of the work.
Please also provide contact information for three professional references. (Alternately, a CD with images can be submitted by mail along with the printed material.) E-mail application materials to Rtelenick@artstudentsleague.org with subject line “Printmaker” or mail applications to Robert Telenick, The Art Students League of NY, 215 West 57th St, New York, NY 10019.

The Art Students League is committed to creating a diverse environment and is proud to be an equal opportunity employer. All qualified applicants will receive consideration for employment without regard to race, color, religion, gender, gender identity or expression, sexual orientation, national origin, genetics, disability, age, or veteran status. The Art Students League complies
with all applicable state and local laws governing nondiscrimination in employment.

Principals only. Recruiters, please do not contact or call.

ABOUT US:
Founded in 1875 by artists and for artists, the Art Students League of New York has been instrumental in shaping America's legacy in the fine arts. Many renowned artists have honed their skills at the League, which is dedicated to sustaining the great tradition of training artists. Today, more than 2,500 students of all ages, backgrounds and skill levels, study at the League each month.

The Art Students League is a non-accredited atelier-style professional art school 501(3)(c).

Job Requirements:

5-10 years of teaching experience at a recognized university or professional art school is required. NOTE: This position is not intended for recent graduates.
Extensive knowledge of etching techniques (drypoint, aquatint, mezzotint, lino-cut) and lithography (stone and aluminum plates) is required.
An MFA is suggested but not required.
Qualified candidates should have a substantial record of gallery or museum exhibition.
An ability to work with students of all backgrounds and skill levels.