Cooper Hewitt, Smithsonian Design Museum of the Smithsonian Institution seeks to contract 1 number of individuals to provide Collections Assistant, Drawings, Prints & Graphic Design services.

The Request for Quote and Statement of Work, which contain the details regarding this contract opportunities are available upon request until November 3, 2025. Requests to obtain these documents will not be accepted after that date.

Bids are due by 5pm EST, November 10, 2025.

All correspondence regarding this request should include the subject line “Collections Assistant, DPGD”.

Please submit your request for the RFQ, SOW, and any questions to:
Jamie Kwan
Assistant Curator, Drawings, Prints & Graphic Design
Cooper Hewitt, Smithsonian Design Museum
HRcuratorDPGD@si.edu

Announcing a call for applications for a 2-year position as a Postdoctoral Curatorial Fellow in Prints and Drawings at the National Gallery of Art, Washington.
DEADLINE: DECEMBER 1, 2025
Position: 2 years, February 2026-January 2028
For a description of the position and to submit an application connect through this link:
https://www.nga.gov/employment-opportunities/curatorial-fellowships

The department of Prints, Drawings, and Photographs (PDP) invites applications for the Dorothy del Bueno Curatorial Fellowship. This endowed fellowship serves as preparation for an advanced career in a museum, providing professional mentorship and extensive firsthand experience with curatorial work in the graphic arts. Reporting to the head of the department, the fellow is a fully integrated member of PDP, providing input and support in areas relating to the interpretation, care, display, and growth of the PMA's collection of over 162,000 works on paper, which range from the fifteenth century to the present and from around the globe. In addition, the del Bueno Fellow, in tandem with two other curatorial fellows, coordinates access to the department’s active study room, facilitating visits from classes, researchers, and community members.

Specifically, you will:

• Coordinate appointments and activities involving the Abigail Rebecca Cohen Study Room. This includes outreach, scheduling, art movement, record-keeping, and hosting visits for classes, scholars, and PMA staff.
• Respond to inquiries about the collection
• Research and catalogue the collection
• Assist curators with exhibition and publication planning, management, and implementation
• Prepare condition reports and preliminary research for new acquisitions, in consultation with paper conservators
• Assist with collection assessments and other projects related to curatorial functions, as assigned by curatorial staff
• Contribute to preparations for bi-annual meetings of the Prints, Drawings, and Photographs Committee, including writing acquisition justifications and presenting on assigned topics.

Your background and experience include:

• Master's degree in art history or an adjacent field
• Graduate experience beyond an M.A. degree is preferred
• A commitment to museum work with a demonstrated interest in works on paper
• An ability to work collaboratively
• An ability to multi-task and negotiate competing priorities while managing longer-term assignments
• Prior experience in a museum environment or similar art institution

Gilcrease Museum, which houses an interdisciplinary collection representing the diverse heritage of the Americas, seeks an intellectually curious, creative, and self-motivated individual to be its inaugural Assistant Curator of Latin American Art and Culture.

The Assistant Curator of Latin American Art and Culture will lead exhibitions, acquisitions, research, and interpretation within Gilcrease’s broad visual culture and archival collections. These include fine art from the 16th through 20th centuries from throughout the Americas, ranging from Spanish colonial retablos and work by Juan Correa to paintings, drawings, and prints by Diego Rivera, Miguel Covarrubias, José Clemente Orozco, Maria Izquierdo, and Rufino Tamayo, as well as recent work by Mexican folk and self-taught artists. In addition, Gilcrease holds one of the most significant collections in the United States of manuscripts, documents, and rare books pertaining to European settlement and conflicts across New Spain, from the Caribbean and present-day Mexico to South America, dating from the 16th to 19th centuries. These objects’ stories are intricately intertwined with other museum holdings, notably collections of cultural material spanning more than 2,000 years, including works by Incan, Moche, Mayan, Panamanian (Gran Coclé), Mixtec, Aztec, Zapotec, Toltec, and West Mexican (Occidentale) creators. Furthermore, Gilcrease has nearly encyclopedic representation of Taos School artists and broad artistic and historical collections pertaining to the American Southwest within its holdings of Indigenous and non-Indigenous objects from the present-day United States.

The Assistant Curator of Latin American Art and Culture will participate on a seven-member curatorial team and collaborate with other museum departments, reporting to the Director of Curatorial Affairs. Primary duties include researching and cataloguing the collection; developing dynamic long-term, temporary, and traveling exhibitions; identifying and bringing traveling exhibitions to Gilcrease; and raising national and international visibility for Gilcrease’s work and for its collections. This role will also promote equity and inclusion of the Latinx community around all Gilcrease exhibitions and programs, and it will build and maintain community relationships to collaboratively celebrate and advocate for Latin American art and culture for a variety of audiences and constituents.

Key Opportunities

The Assistant Curator of Latin American Art and Culture will join Gilcrease as the museum prepares for its public reopening in early 2027 in a new 83,500-square-foot building. With this watershed moment Gilcrease is also embracing an intersectional approach to managing and displaying its 200,000+ objects. This includes interdisciplinary galleries that juxtapose objects from different times, places, and cultures, as well as increased attention to Indigenous histories and makers. Recognition for the breadth and quality of the Latin American collections is integral to this interpretative plan, and as the inaugural team member in this role, the Assistant Curator of Latin American Art and Culture will shape and magnify the visibility of these works and their adjacent histories.

Although this position is not dedicated exclusively to works on paper, the strengths of the Gilcrease Collection favor a scholar with background and interest particularly for prints, books, maps, manuscripts, and other works on paper. Gilcrease has a works on paper conservation lab to support this collection.

Benefits: The benefits package includes medical, dental, and vision plan options, 401(k), paid time off, and a range of other benefits and privileges available to all University of Tulsa employees.

The annual starting salary range for this position is $44,500 – $47,500.

Please consult the job posting on the University of Tulsa job application portal for more details.

Reporting to the Director of the School of Art, the Gallery Director/Curator is administratively responsible for the overall operations of the School of Art Gallery, including activities, programming, financial management, and supervision of gallery staff. The Gallery Director/Curator is responsible for ensuring that the research and focus of exhibitions, collections, and events reflect the needs of the School of Art and align with the strategic goals of the University of Manitoba. The programming of the Gallery should make a significant contribution to the contemporary culture and the art history of Manitoba and Canada, representing its diversity, with particular attention to ensuring that Indigenous voices and cultures are represented in the Gallery's activities.

The Gallery Director/Curator is responsible for ensuring that contemporary museological standards are applied to the production of temporary exhibitions as well as to the care, management, exhibition and expansion of the School of Art's Permanent Collection, through exhibitions, research, and collections management. The Gallery Director/Curator will ensure the ongoing progress of the digitization of the Gallery's collection and the creation of a collections database available to the professoriate and the public.

The Gallery Director/Curator is expected to work with faculty and gallery staff to ensure that the permanent collection and temporary exhibitions are used to support the teaching of art history, curatorial studies, and studio. A core responsibility of the Gallery Directory/Curator is to support teaching at the School of Art.

The responsibilities of the Gallery Director/Curator encompass research, programming, collections management, education, and administration. The Gallery Director/Curator is responsible for organizing and producing exhibitions, as well as their ancillary educational programs and events. Exhibition production includes but is not restricted to research, grant writing, administration (general production, advertising and promotion, catalogue production, installation, hiring of guest contributors), education, extension, and partnership with other Canadian cultural institutions on collaborative projects. Collections management includes but is not restricted to the acquisition, documentation, preservation, exhibition, and interpretation of the School of Art Permanent Collection, as well as assistance with the University of Manitoba Collections - a separate entity within the University. Research in this context is understood as supporting the curatorial needs and purposes of the presentation of artworks and curatorial projects that serve the mandate of the Gallery, and as supporting the use of the Permanent Collection in the teaching of art history, curatorial studies, and studio.

The successful candidate will hold, at minimum, a Master's degree in Art History, Museum Studies, Curatorial Studies, Visual Arts, or another similar program, combined with substantial experience in curatorial work, catalogue publishing, grant writing, collections management, museum education, and administration within a public or university art gallery.

Application materials should include a letter of interest and curriculum vitae. Three letters of reference should be sent directly by the referees. Canadian and permanent residents should clearly indicate their citizenship or residency status in their cover letter or CV. Review of applications will begin on September 19, 2025 and continue until the position is filled. Materials should be sent to Sarah Rout at Sarah.Rout@umanitoba.ca.

Please click the link for more information.

In histories of art as in contemporary practice, we rarely consider where ink wiped off a printing plate ends up or how reams of trial proofs get recycled. When we celebrate end products of creation, we silence and conceal the flows of waste to which all making inevitably contributes. NET-ZERO PRESS, a new impact project funded by the University of St Andrews and led by Dr Ruth Ezra, Lecturer in Art History, aims to work with contemporary stakeholders, educators, and practitioners across the printmaking landscape of Scotland to "start from trash" as we trace waste flows in print shops and act on these data to propose strategies for making studio spaces (from classrooms to open-access workshops) less toxic and more sustainable.

To launch the project, a group of art historians, practitioners, and technicians will gather together for a workshop at Dundee Contemporary Arts (DCA) on Tuesday 21 October, 10:30 a.m. to 4 p.m. Our goal? To share stories from the print room floor.

Interested participants should prepare a 10-minute presentation wherein they tell the story of one material that features in their practice, tracking its lifespan from acquisition through consumption, transformation, and disposal. The tone is meant to be light and exploratory and the company, congenial. We will conclude the workshop with a guided tour of the DCA print room, with a focus on waste flows and reuse. Any artists presenting will be paid a stipend of four hours at the Scottish Artists’ Union rate, based on years of experience. An additional hour of comfort break/lunch will be provided as part of the day, as well as an optional closing half-hour of tea and chat. Local economy travel expenses (train/bus) to and from Dundee city will be reimbursed.

Interested? Email netzeropress@st-andrews.ac.uk with a description of your material; an 150-word summary of your object story; and a CV by 15 September 2025. Participants will be notified of acceptance by September 21. If you live outside of the UK but would like to attend in a virtual capacity, please also feel free to get in touch.

Learn more about the project: http://netzeropress.wp.st-andrews.ac.uk
http://linktr.ee/netzeropress

Job Title: Oral History Project Assistant (Hourly)
Status: Part-time, Non-exempt (hourly)
Location: Remote
Compensation: Hourly commensurate with experience
Deadline: Applications will be reviewed on a rolling basis until the position is filled.
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ABOUT THE ATELIER 17 PROJECT
The Atelier 17 Project, Inc. is a nonprofit research initiative dedicated to preserving and promoting the legacy of Atelier 17, the influential printmaking studio founded by Stanley William Hayter (1901–1988). Honoring the studio’s centennial in 2027, we are conducting a series of oral history interviews with former members of the Atelier 17 studio. These interviews occur virtually and last for approximately 1 hour.

POSITION OVERVIEW
We seek a detail-oriented Project Assistant to manage the post-production workflow of our recorded interviews. Working closely with the Executive Director, artists, interviewers, and an AV editor, the assistant will ensure timely delivery of high-quality transcripts and media files.

KEY RESPONSIBILITIES
Media Coordination
- Download RAW audio and video files from Riverside after each interview.
- Organize and transfer files to the designated AV editor, maintaining clear naming conventions.
Transcript Production
- Import final edited video into Descript and generate an initial automated transcript.
- Review and refine the automated transcript for accuracy, with special attention to technical printmaking terminology and French-language names/phrases.
- Flag ambiguities or questions for follow-up with the interviewer or artist.-Stakeholder Review Cycle
Stakeholder Review Cycle
- Circulate draft transcripts to the Executive Director, interviewer, and artist; track comments and incorporate revisions until the transcript is approved.
- Maintain version control and a status log for each interview.
Project Tracking & Documentation
- Track the progress of each oral history interview, outstanding tasks, and due dates.
- Ensure we have signed release forms from both interviewers and artists.

QUALIFICATIONS
- Project & Workflow Management: Proven ability to juggle multiple projects and deadlines with exceptional attention to detail.
- Technical Proficiency: Comfort working in cloud-based environments (Google Drive, Descript, etc.). Familiarity with Descript and Riverside.fm
- Language & Communication: Excellent written English and strong proofreading skills. Working knowledge of French pronunciation and vocabulary is a plus.
- Subject Matter Familiarity: Knowledge of twentieth-century printmaking and modernism to ensure accurate use of terminology, names, and context during transcript review.


TIME COMMITMENT
Workload may vary month-to-month, based on the schedule of oral history interviews.
Schedule is flexible but must accommodate prompt turnarounds after interviews.


COMPENSATION & BENEFITS
Hourly rate based on experience (please include desired rate in your application).
Flexible remote work environment.
Opportunity to contribute to a landmark centennial research initiative and deepen expertise in modern printmaking history.


HOW TO APPLY
Please email the following to info@a17project.org with the subject line “Oral History Project Assistant – [Your Name]”:

- Brief cover letter outlining your relevant experience and availability.
- Résumé/CV (2 pages max).
- Reference from previous employer may be requested, after interview.

Applications will be reviewed on a rolling basis until the position is filled.

When an object is collected, it begins a new life. It does not freeze in time, as it can still be altered and manipulated. This panel, sponsored by The Society for the History of Collecting, seeks to analyze, on a visual, material, and theoretical level, the various interventions made by artists, collectors, merchants, and restorers on artworks after their completion as these came to be part of a collection. Within this framework, many concepts come into play: reworking, retouching, alteration, manipulation, integration, correction, refreshing, reframing, repurposing. These interventions often respond to a need for conservation or restauration, sometimes they are carried out for esthetic or repurposing needs, other times they are the result of a misunderstanding as to an object’s original intention when this crossed cultural boundaries.
Whatever the reason, such practices have consequences that lead to changes in the artwork’s status of completeness, its function, its display or storage, and the way it is interpreted. Identifying, analyzing, and understanding these practices allows for a layered understanding of an object's life, from its production to its reception, within a complex temporal framework. What type of interventions are executed? How are they carried out, and by whom? Are there written sources that transmit this technical and material knowledge? What are the aesthetic and theoretical consequences of these actions on the objects themselves? Moreover, nowadays, how do scholars critically define these practices, considering their complex entanglements with concepts of authorship, originality and style?
Open to different media, we welcome contributions that explore cases from any geographical region during the early modern period. By privileging both diachronic and synchronic approaches, we aim to measure and analyze the growing interest in the physical condition of artworks, as well as in the conservation, restoration, and repurposing practices applied to objects within collections, broadly understood.

Proposals should be for 20-minute papers and must include a title (15 words maximum), abstract (150 words maximum), keywords and a CV (1 page maximum). Speakers will need to be members of RSA and members of The Society for the History of Collecting at the time of the conference. Please send your submission before 10 August 2025 (PDT) to Federica Gigante (federica.gigante@ames.ox.ac.uk), Alice Ottazzi (alice.ottazzi@khi.fi.it) and Adriana Turpin (adrianaturpin@gmail.com). Applicants will be notified by 11 August.

The American Historical Print Collectors Society announces December 1, 2025 deadline for new submissions for its Newman Publication Awards

For more than thirty years, the American Historical Print Collectors Society (AHPCS) has recognized significant scholarship in the field of American historical prints with its Ewell L. Newman Book Award. In 2023 the AHPCS added two new awards to recognize shorter works published in journals and edited volumes, including exhibition catalogues and digital formats. The Essay award is named in honor of Lois W. Newman, a founding member of the Society, who continued as a generous supporter of the publication awards after her husband’s death.

Each annual cycle typically results in one book award in the amount of $2,000 and two essay or article awards in the amount of $750 each. One of the essay awards usually will be designated for the best article published in the AHPCS journal Imprint, as selected by the Newman Award Committee. Awards are not necessarily presented each year but are determined by the quality of available submissions. Occasionally, there may be multiple winners in an individual year.


Submissions – Deadline December 1, 2025
The purpose of the AHPCS book and essay awards is to recognize and encourage outstanding scholarship in the field, as defined in our mission statement: prints depicting or reflecting North American history and culture, made either in America or elsewhere. Our focus is on American historical prints and their imagery as visual culture. Original research, fresh assessments, and the fluent synthesis of known material will be taken into account. The emphasis is on quality and on making an outstanding contribution to the subject.

Essays between 3,000 and 10,000 words will be considered. Works should be submitted in published form as a hard copy or digital attachment. The Society’s Newman Award Committee will serve as the jury to evaluate both books and article submissions. Jurors are all AHPCS members and include collectors, curators, and scholars of American prints.

Publications remain eligible from the year of publication through the following year, a period of approximately two years. Once a work has been reviewed by the jury, it will not be considered in a subsequent cycle except in a substantially revised edition. Submissions received by December 1st will be considered for the award announced the following spring.

Contact information
To submit material to the committee for consideration, please mail a copy to:
Helena E. Wright, 4628 49th Street NW, Washington, DC 20016
For additional information, please contact the Committee chair at:
wrighthelena16@gmail.com

Publishers and authors, please note: if it is possible to provide multiple copies, it would facilitate distribution of the publications among the Committee and speed their work. Please contact the Committee chair for individual addresses. Thank you.

The AHPCS is a non-profit corporation that encourages the collection, preservation, study, and exhibition of prints depicting or reflecting North American history and culture, made either in America or elsewhere. For further information about the Society, please visit the website at https://ahpcs.org. A list of all Newman Publication Award winners to date can be found at https://ahpcs.org/newman-award-winners/ and https://ahpsc.org/essay-award-winners

APS members Ruth Pelzer-Montada and Sandra De Rycker’s call for Participation in the CAA 114th Annual Conference (February 18-21, 2026) is now live:

We welcome contributions from artists, art historians, curators, educators, printers, and printmaking workshops that consider the important creative ecologies and often neglected infrastructures of the print workshop from various perspectives.
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What would it mean to approach the model of a print workshop from an ‘intra-active’ perspective (Barad, 2007)? That is, to explore such environments as dynamic, agential and material-discursive phenomena? Considering workshop commonalities (such as printers’ preparation and processing of plates, stones or screens), as well as specificities (individual expertise, technological apparatuses, ecological approaches, spatial dynamics, differing models of collaboration), we wish to ask: How do prints operate in the workshop setting as non-human (objects, things, materials) and humans (artists, printers, institutions) mingle and/or intra-act?
Following Jennifer L. Roberts’ (2024) close investigations of the materiality of print processes, this session proposes further enquiry into the social and material groundings of the print workshop. Despite scholarly examinations of individual 'master printers' (Stanley William Hayter, Robert Blackburn, Kenneth Tyler, Stanley Jones); particular print workshop set-ups (Paul Laidler, 2011; Christina Weyl, 2019) and important collaborating printers’ accounts of working with artists (Craig Zammiello, Kathan Brown, Phil Sanders) this area remains seldom studied and undertheorized.

This session invites artists, art historians, curators, educators, printers and printmaking workshops to consider these often neglected ecologies from various perspectives, drawing on new-materialism and related interdisciplinary methodologies including decolonial, feminist, intersectional and eco-critical approaches. Taking account of print-making’s transitory states as well as its interrelationships with wider material, social, political, economic and institutional networks, we welcome proposals that delve into the dynamics of collaboration, tacit learning and embodied knowledge, and corresponding values in and beyond the print workshop, to elucidate these important and currently threatened infrastructures.