IPCNY is very excited to be bringing Queer.Archive.Work’s perspective as the jury of the 65th iteration of New Prints with the theme Unfinished.

“Capitalism rewards perfection—as defined by those in power. This is especially true in the art world, where the demand for smooth resolution and predictability creates unsustainable standards for what (and who) is allowed to be considered "successful." Artists are too often judged along values centered on heteronormativity and white supremacy: easily reproducible results, collectability, exceptionalism, and the illusion of meritocracy.

New Prints 2022/Winter invites submissions that directly challenge the traditional values of polish and perfection. This loose theme of unfinished might include ideas about incompleteness, rawness, messiness, illegibility, risk, vulnerability, non-linearity, collectivism, care, queerness, non-normativity, and other concepts that push back against capitalism's relentless drive towards market-based success. This could also include actual work-in-progress, abandoned work, failed work, process, or work that is simply unfinished due to any of the myriad aspects and conditions experienced while living and working during crisis—the radical turbulence of racial injustice, police brutality, class inequity, global pandemic, and climate emergency.”

APPLICATION GUIDELINES
- Applicants of all backgrounds are welcome to apply; work that speaks to the experiences of QTBIPOC folks is encouraged.
- Works submitted should consider the theme Unfinished as laid out in Queer.Archive.Work's description above. Each artwork submitted will require a brief written statement, which can address how the work is related to this theme.
- Works must have been completed within 12 months of the beginning of the open call. (Works created before September of 2020 are NOT eligible.)
- Artists who have exhibited in New Prints within the past 2 years (New Prints 2020/Winter, 2020/Summer, 2021/Winter, and 2021/Summer) may NOT submit their work for consideration.
- Editioned prints, unique printed works, printed installations, print-based artist’s books, print-based animations, risograph printing, mixed media works including print, and ephemeral formats are eligible.
- Photography or direct reproductions of other artworks, such as drawings or paintings, are NOT eligible.
- There is no maximum for work dimensions, though as IPCNY has limited wall space, size comes into play in the jurying process.
- Open internationally, no nationality requirements.
- Artists may submit up to 3 works. Publishers and presses may submit up to 3 artists, with 3 works per artist.

IMAGE REQUIREMENTS

- Images should be in jpeg format, 72 dpi with the longest dimension a maximum of 2,000 pixels OR less than 1MB.
- Animations or other videos may be submitted as MP4, MOV, or FLV files. Please compress video files to be a manageable size.
- Each file should be named as follows: artist's last name_first name_entry number. (For example: smith_john_01.jpg, smith_john_02.jpg, etc.)

For any questions, contact Megan Duffy at megan@ipcny.org

Conveners:
Nancy Siegel, Towson University, Towson, Maryland (nsiegel@towson.edu) ; Allison Stagg, Technische Universität Darmstadt, Germany (stagg@kunst.tu-darmstadt.de)


Satirical prints, whether published in Britain, Europe, or America during the long eighteenth century were widely consumed, circulated, and collected. Displayed and presented in various formats for a growing consumer audience, these works from the “golden age of caricature,” demonstrate the manner in which print culture functioned as a disseminating voice for satirists who used comedic and often bawdy imagery to express criticism and dissent during the turbulent end of the eighteenth century and beginning of the nineteenth century. Giving visual form to critiques and commentaries on current events, contemporary affairs, public figures and politicos, satire gave voice to the body politic.

Through explorations of how the visual culture of satirical prints functioned in the long eighteenth century, we invite papers from scholars at all ranks, affiliated and independent, that address inquires such as how were collections amassed, to whom did satirical prints appeal, and what characteristics contributed to their enduring popularity? By what means were prints advertised, displayed, and discussed? Further, what was the role of the print seller? What was the market for such prints? While there is little dispute over the enduring popularity of eighteenth and nineteenth-century satirical prints and caricatures, this session considers the role of the collector and collecting and what is known of individual collectors. Often dismissed or relegated to a caption or footnote, these individuals, for whom such artistry or content was eye catching, are largely responsible for the existence of the satirical impressions found in museum collections today.

Please send abstracts of no more than 250 words to Nancy Siegel at nsiegel@towson.edu or Allison Stagg at stagg@kunst.tu-darmstadt.de.

In January 2018, the Getty Foundation launched The Paper Project: Prints and Drawings Curatorship in the 21st Century. This international initiative supports training and professional development for early- to mid-career curators of prints and drawings.

The Paper Project helps curators navigate the demands of the 21st-century museum, both by preserving traditional skills that have been passed down through generations of specialists and by supporting innovative efforts to make graphic arts collections accessible and relevant to today's audiences.

Past grants awarded in The Paper Project have included support for curatorial fellowships, collection-based research fellowships, short-term traveling seminars, professional workshops, digital projects, and exhibition and publication projects at museums, libraries, archives, and other institutions that work with prints and drawings. Please note that Paper Project grants support individual curators indirectly; grants are only awarded to organizations.

We are currently accepting applications for the following types of grants:

Project Support
Exhibition and publication grants help mid-career curators organize exhibitions and publications that showcase prints and/or drawings. These grants provide significant opportunities for curatorial innovation and professional development. Grants can support permanent collection-based or loan-based exhibition projects.

Digital grants help early- and mid-career curators pilot or execute an original digital project showcasing prints and/or drawings. Projects previously supported include virtual exhibitions, microsites, gallery interactives, digital publications, and digital public engagement. Please note that these grants are not suitable for large digital infrastructure projects.

Workshop Support
Workshop grants offer curators at any professional level the opportunity to organize in-person and virtual gatherings with an emphasis on professional development and shared learning among curators about critical issues in the prints and drawings field. Grants can also support skills-focused training and short courses or webinars. Please note that these grants are not intended to support public symposia, such as those accompanying an exhibition, or recurring professional meetings or conferences.

We invite proposals for projects led by curators with a specialization in prints and/or drawings of any period. We are particularly interested in proposals for projects that engage with collections and topics in the history of prints and drawings that have not received adequate curatorial attention and have the potential to make a meaningful contribution to the field. Projects led by an eligible guest curator are also welcome, particularly an individual who brings expertise that is not currently represented in the applicant institution's curatorial staff.

Grant awards typically range from $25,000 to $100,000. Awards of up to $125,000 will be considered for larger workshop projects that involve participant travel.

Deadlines

- Complete the Intent to Apply form by November 1, 2021.
- Following submission of this form, eligible organizations that are invited to apply will receive a link to the Getty Foundation's grant portal along with detailed application instructions. Foundation staff will provide guidance as needed.
- Full applications must be submitted by December 1, 2021.
- Applicants will be notified by May 2022.

For more information and access to necessary forms please visit the external link below.

Tamarind Institute invites applications for artist collaborations with its skilled student printers. During the spring semester, three visiting artists will individually participate in two-week residencies in the workshop, each working with a team of two student printers under the close supervision of a Tamarind Master Printer. Visiting artists will be invited to create two print editions with a team of printers who provide guidance on using lithographic drawing materials and oversee all technical aspects of the printing process.

At the completion of the two-week residency the artist will sign off on a trial proof, and the edition will be printed after the artist leaves. The editions will be completed by the end of May 2022, at which time the artist will receive all of the prints and proofs for signing. With the exception of one record impression for the Tamarind archive and one printer’s proof retained by the printer, all of the prints will
be the property of the artist.

The workshop fee is a flat $2,000 covering workshop materials. All travel and living expenses are the responsibility of the participating artist. $1,000 is due when the residency begins, and the remainder is due upon completion of the prints. The prints will be inspected by the Tamarind Curator for printing quality and consistency, and a documentation sheet will be prepared for the artist and printer to sign. The prints will be chopped with Tamarind’s contract chop.

The $2,000 workshop fee includes the following:
- 2 editions, each in an edition of 10-15 prints
- Each edition includes one artist proof, one printer’s proof, and one record impression for the Tamarind archive
- 30 x 22 inch maximum paper size from available paper stock
- 4-5 press runs maximum
- 5 trial proofs maximum (additional trial proofs will be charged at the current rate)
- Use of all standard lithographic drawing materials and processes is included in the workshop fee; for use of special photographic processes or special techniques such as image reversal, chine colle, etc, surcharges may be added. The Tamarind Curator will oversee printing costs during the project, to determine any additional costs.

APPLICATION PROCESS
Please submit a resume and a letter outlining your previous experience and interest in collaborative printmaking. Include a one-page proposal outlining what kind of project you would like to explore at Tamarind, and how working with a team of printers would allow you to expand your practice. Include 10-15 images of recent work.
No previous experience in printmaking necessary.

Three residencies available, please specify preference for one of the following 2022 dates, and indicate if there is flexibility for second/third choice of dates:

January 31-February 11
February 21-March 4
March 13-25

Application deadline October 31, 2021. Notification by November 15, 2021

Submit applications to tamarind@unm.edu with subject heading STUDENT PRINTER COLLABORATION PROPOSAL

This issue of the Art Institute Review addresses the concept of in situ—a natural, original, or existing position or place. The notion relates to basic questions art historians, conservators, curators, and other cultural heritage professionals ask about all works of art: Where were they installed or exhibited? How were they experienced in their original time and location? To what extent did these initial contexts orient and shape artistic intent? Location and place may change over time. What happens when the physical context of a work of art is interrupted or upended? What are the stakes surrounding its placement and/or displacement? Research and analysis are themselves informed by position and place. How are art historical, conservation, and material science methods shaped in situ? How must they change when addressing a work of art that has been removed from its original context(s)?

Such questions regarding the past, present, and future of artworks have always been important in art history and related disciplines, but they have taken on even greater weight in our particular moment. What does it mean to recontextualize works in new spaces? What happens when we privilege one point in an artwork’s history over another—or when we deprioritize or disregard that history? How can digital tools and technologies help us better understand, question, and critique the “place” of art?

The third issue of the Art Institute Review invites you to consider, interrogate, and visualize the concept of in situ, understood broadly. We welcome topics from an expansive geographical, temporal, and theoretical range that could include: archaeological investigation and research, theoretical and practical projects of restitution and decolonization; community-based conservation; site-specific artworks and interventions, Gesamtkunstwerk, and land art projects; digital and material re-creations of artistic sites and architectural settings; and more. We especially welcome proposals focused on historically underrepresented objects or narratives, proposals from emerging scholars, and proposals that optimize the digital platform. Not only is the digital realm itself a place ripe for critical exploration through the theme, but it also supports innovative technological experiments and creative realizations of historic, contemporary, and imagined spaces.

This issue is co-edited by Elizabeth McGoey, Associate Curator of Arts of the Americas, the Art Institute of Chicago, and Jeanne Marie Teutonico, Associate Director of Strategic Initiatives and Publications at the Getty Conservation Institute.

For more information and to access a submission link please visit the external link below.

The Museum of Fine Arts, Houston is seeking a full-time Curatorial Assistant in the Prints and Drawings department. The Curatorial Assistant plays a central and fundamental supportive role in the daily activities of the department and works closely with the Curator and varied departments in the Museum. Being a collaborative thinker and worker is vital to this role and the person engages with the public including scholars, colleagues, dealers, donors, and collectors.

Essential Functions:
- Assists Curator in all of the department’s varied activities including, but not limited to, the care of the collection, exhibitions, acquisitions, publications, patron group, and any other projects related to the department
- Primary duties include on-going research of works in the collection (ranging from art historical to conservation issues); maintaining collection files [digital and paper]; liaising with and disseminating information to other departments; writing catalogue, didactic, and label copy; tracking interdepartmental needs and responsibilities for collection rotations and collection installations with particular focus on the new Kinder Building for Modern and Contemporary art (at least twice a year), in-focus exhibitions, and special exhibitions; creates layouts of installations and exhibitions for review
- Prepares gift/purchase lists, agendas and researches/writes acquisition reports for subcommittee meetings (approximately five times a year).
- Assists with maintaining relevant information concerning auctions, art dealers, and art galleries from a range of time
- Engages with the Collections Manager for prints, drawings, and photographs by assisting with scholars and school groups during appointments (when necessary).
- Oversees, in tandem with the curator, the department’s interns and volunteers
- General duties also include proofreading, distributing, and updating collection and/or lists for exhibitions, preparing loan letters, requesting rights & reproduction, coordinating with the Collections Manager on photography and instructions for framing permanent collection
- Digital content manager for department’s webpage
- Assists with cataloguing department’s collection in tandem with the Collections Manager and the Registrars office and maintains data standards in TMS

Qualifications, Skills, Knowledge and Abilities:
- Knowledge of printmaking and drawing techniques
- Broad knowledge of art history, with an interest in modern and contemporary art
- Experience with cataloging objects and data entry in collection management database
- Able to work with a wide variety of individuals
- Advanced research skills, clear, lucid writing style, and excellent oral communication
- Works well independently with the ability to quickly switch to collaborative mode
- Strong focus on attention to details
- Ability to follow protocols in handling delicate works of art with care
- Knowledge of or ability and interest to learn collection storage system
- Strong organizational and computer skills
- Able to prioritize workload
- Balances team and individual responsibilities while contributing to a positive team spirit

Strongly Preferred:
- Experience with collection management database TMS or similar program
- Reading knowledge of 1 or more foreign languages

Education and Experience:
- MA. in Art History required
- Previous museum experience, minimum 2 years

For more information and to apply please visit the external link below.

The Museum of Modern Art is currently accepting applications for a Curatorial Assistant in its Department of Drawings and Prints with a focus on early American Modernism. The Curatorial Assistant will assist the Department’s curatorial staff in all areas of their responsibilities, including research for exhibitions and publications, administrative work in the context of curatorial functions such as acquisitions, exhibitions, collections records, bibliographic and biographical records and files, departmental committee meetings, loans, and general curatorial inquiries.

Additional responsibilities include:
- Performs work in relation to care of the collection and expedites arrangements for custodial, registration, and preparation work as required by the curators in the maintenance of the collection in gallery, study and storage areas.
- Conducts daily collection gallery inspections and assists with follow-up arrangements in the event of damage, deterioration, etc.
- Performs the duties of exhibitions assistant including research on subjects such as artists, periods, styles, etc., on specific works, on locations of works, on photograph sources, etc.
- Assists with arranging loans; catalogue preparation; preparation of checklists including compiling and typing; coordinating and scheduling work to be done within the Museum and without in such areas as conservation, photography, public information, matting and framing, construction, lighting, etc.
- Assists with the preparation and installation of wall labels. Conducts daily inspection of the works on view in temporary exhibitions and assists with necessary follow-up arrangements, answers inquiries and conducts some gallery tours as necessary for visitors, etc.
- Researches and catalogues the Museum Collection under senior staff supervision and answers related inquiries from the public and scholars.
- Performs any other duties reasonably related to the functions described above.

Requirements:
- Minimum of a master’s degree in art history required with a particular expertise/exposure to early Modern American art from 1900-1950.
- Prior curatorial experience required.
- Superior research and writing skills required.
- Strong organizational skills and attention to detail.
- Superior communication and diplomacy,
- Proficiency with TMS, MS Word, Excel and other standard office procedures and equipment.
- Fully vaccinated with a Centers for Disease Control and Prevention and/or the World Health Organization authorized vaccine (or approved for an exemption as a reasonable accommodation due to a qualified disability or sincerely held religious belief or other legal basis).

Application instructions: To apply, please visit MoMA Jobs. Applicants should submit a resume and a statement of interest.

Equal Employment Opportunity Policy Statement: Equal Employment Opportunity has been, and will continue to be, a fundamental principle at the Museum, where employment is based upon personal capabilities and qualifications without discrimination because of race, color, religion, sex, age, national origin, disability, pregnancy, genetic information, military or veteran status, sexual orientation, gender, gender identity or expression, marital and civil partnership/union status, alienage or citizenship status, creed, genetic predisposition or carrier status, unemployment status, familial status, domestic violence, sexual violence or stalking victim status, caregiver status, arrest or conviction record to the extent required by applicable law, credit history, or any other protected category as established by applicable law, including the New York City Human Rights Law (“NYCHRL”).

For more information or to apply please visit the external link below.

Carleton College invites applications for a tenure-track position in printmaking and drawing to begin September 1, 2022. This position will typically include teaching five courses per year over three 10-week terms.

About the Position:

We seek a colleague who will lead our course offerings in various printmaking processes and teach drawing courses from introductory to upper-levels. The successful candidate should have experience in multiple printmaking techniques, which may include intaglio, relief, silkscreen, and/or lithography, and also display a facility with integrating those traditional analog approaches with photography, digital media, and other innovative image-making technologies. Candidates should be conversant in contemporary art discourses as the position will also be expected to teach practicums for junior and senior Studio Art majors on a rotating basis with other studio faculty.

The ideal candidate will be able to clearly articulate connections between theory and practice and will embrace links between printmaking, drawing, and other disciplines. Candidates must be dedicated to teaching in a small, liberal arts college; committed to working closely with colleagues in the combined Art and Art History Department; and intent on forging collaborative relationships across disciplines.

Candidates are expected to maintain an active artistic or research agenda that buttresses their teaching in productive ways.

It is expected that candidates will hold a terminal degree in their field. We seek individuals with a demonstrated ability to work with students from a wide range of social and cultural backgrounds. Two years of teaching beyond completion of the MFA is strongly preferred. Additionally, we welcome candidates whose professional work—in the classroom, in the studio, or in their service to the field—aligns with our commitment to examining systems of privilege and oppression.

About the Department of Art and Art History:

The Art and Art History Department at Carleton offers two separate majors (in Studio Art and Art History) as well as one minor (in Art History). The core mission of the Studio Art program is to introduce students to tools and processes of artmaking, and help them develop their own creative abilities. We share a commitment to the value of traditional manual skills while encouraging experimentation and an expansive and expanding idea about art’s role in the broader culture. The Department is housed in Boliou Memorial Hall and features studios devoted to photography, ceramics, metalsmithing, painting and drawing, printmaking, sculpture, and woodworking. The department also maintains studio space in the Weitz Center for Creativity, Carleton’s state-of-the-art, multidisciplinary center for the arts, which also houses the Perlman Teaching Museum and multiple uniquely flexible work and performance spaces. The mission of the Weitz is to serve as a working laboratory for creativity not only within the arts, but across the entire curriculum. Studio Art faculty and students often collaborate with the staff and tools found in the Makerspace in the new Evelyn Anderson Science Center.

For more information and to apply please visit the external link below.

The session invites new scholarship on the publishing, commerce, and distribution of prints to investigate the network of collaborations within global print markets during the long 18th century.Authors might also consider how market interactions highlight the role of prints in facilitating aesthetic, intellectual, and cultural dialogues of the Enlightenment.

Please send abstracts of no more than 250 words to Susanne Anderson-Riedel at ariedel@unm.edu

Rare Book School (RBS), a 501.c.3 educational nonprofit affiliated with the University of Virginia, seeks a motivated, service-oriented individual to join its team as the Administrative Director of the Andrew W. Mellon Society of Fellows in Critical Bibliography and RBS Communications Associate. The individual filling this position will administer and oversee the overall membership of the Society while also contributing to the School’s general communications and outreach efforts. The Administrative Director of the Andrew W. Mellon Society of Fellows in Critical Bibliography and RBS Communications Associate reports to the School’s Executive Director.


Responsibilities:

-Serve as Administrative Director of the Andrew W. Mellon Society of Fellows in Critical Bibliography
· Participate as an ex officio member in all Council meetings of the Society, as well as meetings of its committees, and maintain governance documents to ensure compliance with the Society’s bylaws and the terms of the grant
· Administer and oversee the selection process of Junior Fellows in concert with the Society’s Selection Committee, processing and evaluating applications and serving as a liaison with external application readers
· Advise and provide guidance for applicants, fellows, and other possible participants regarding course selection, application procedures, orientation to the program, and other fellowship activities
· Coordinate travel and local arrangements for fellowship activities, including committee meetings, bibliographical field schools, optional events for fellows taking RBS courses, and, in partnership with the Society’s Council and Programs Committee, the Society’s annual meeting
· Deploy, collect, analyze, and aggregate results of evaluation surveys
· Collect annual membership dues, track and initiate program-related payments and reimbursements, and monitor spending against budget
· Update recruitment and admission materials, and manager the Society’s webpage, scholarly resources, and archives
· Help with preparation of internal and external reporting
· Engage in creative and strategic problem-solving both independently and in collaborative work with Fellows
· Assist RBS’s Associate Director in creating and executing a long-term sustainability strategy for the program

-Assist the Director of Communications & Outreach with the following tasks on a seasonal basis (especially December–January, April–September)
· Maintain RBS website (WordPress) and social media accounts
· Produce print, electronic, and multimedia materials, including brochures, newsletters, recordings and well as other program-related materials for students
· Advertise various RBS events and opportunities
· Coordinate the planning and promotion for public events
· Gather information for annual reports

-Other related duties as needed

For full job description, desired qualifications, salary and benefits, see external link below.