s and recent PhDs an opportunity to share their fresh perspectives on the study of early modern print and receive constructive feedback from an international audience.

Per RSA guidelines, advanced graduate students submitting proposals for this panel must be within one or two years of defending their dissertations and should present dissertation-related research.

Proposals must include:
-paper title (15-word maximum)
-abstract (150-word maximum)
-curriculum vitae (.pdf, no longer than 5 pages)
-PhD completion date (past or expected)
-full name, current affiliation, and email address

Interested participants are invited to send their proposals to co-organizers Rachel M. Carlisle (rcarlisle@fsu.edu) and Lacy Gillette (lgillette@fsu.edu) by Wednesday, July 15, 2020. Decisions regarding acceptance will be provided at least one week prior to the August 15 deadline for RSA Dublin 2021 general submissions.

All participants must be RSA members for the year of the conference. RSA offers a limited number of travel grants, for which the deadline is normally in December. Please visit the 'External Link' below for more details.

minations and scroll paintings to prints. They engage with the narrative, whilst also providing a narrative of their own, as they testify to the architectural imagination of artists and communicative abilities of architectural forms. Yet, two-dimensional buildings are often discussed only as spatial devices articulating depth, and as lesser counterparts of large-scale three-dimensional structures. This approach hinders our understanding of the structural and ornamental ambition of many two-dimensional buildings, which can present architectural solutions that were adopted only decades later in built structures. It also prevents us from fully recognising the cultural value attached to architectural forms and their rhetorical dimension.

These sessions at the 2021 meeting of the Renaissance Society of America aim to challenge traditional approaches to the representation of architecture in order to bridge the historiographical gap between art and architectural history. Focussing on the period between c.1300 to c.1700 as a turning point for the representation of architecture, the sessions intend to shed light on the innovativeness of two-dimensional architecture across a variety of media and to further research on the intersection of artistic and architectural practice. Proposals discussing architectural representation in any medium and from any part of the world are welcome. Papers may address a variety of topics, including but not limited to:

• Interaction and exchange between artists and architects
• Craftsmen working as both artists and architects
• The roles architecture plays within a narrative image
• The symbolism of architecture
• The relationship between representations of architecture and built structures
• The development of architectural project drawing in relation to painted and sculpted buildings
• Ornamental originality and structural ingenuity in both two and three-dimensional architecture

Please send proposals to Livia Lupi (livia.lupi@warwick.ac.uk) by July 31, 2020. They should include a title (max. 15 words), an abstract (max. 150 words) and a brief CV (max. one page).

All participants must be RSA members for the year of the conference. RSA offers a limited number of travel grants, for which the deadline is normally in December. Please visit the 'External Link' below for more details.

the triennial Dacos Prize to a contemporary intaglio printmaker (35 years of age or younger).

Contest entry is free and open internationally. The prize is an amount of € 2,500.

The deadline for entry is November 1, 2020.

Please visit the 'External Link' below for more information.

s, and include a brief discussion of what you hope to gain from access to the Center’s facilities. Residents will create a finished project over the course of the year, but should also focus on their ongoing exploration of artist's books and book arts as a way to expand their artistic practice.

The purpose of the Book Artist Residency is to fortify the practice of early career artists in the book arts, to provide access to professional equipment, opportunities and space to work, and to strengthen and diversify the community of book artists working within the New York area. This year long residency includes a cash stipend, materials budget, tuition waiver for all courses offered at CBA during the residency period, and 24-hour access to CBA printing and binding studios in Manhattan. Book Artists-in-Residence are expected to actively utilize the studios and to complete an artist project by the end of the residency period to be included in a group exhibition. Additionally, residents are expected to regularly attend public programs at the Center and to participate in quarterly BookTalks. Residents are often provided with opportunities to speak publicly about their work, to collaborate with other artists and poets, and to hold studio visits with visiting curators and artists.

International, national and local book artists are encouraged to apply, however housing is not provided. Those not currently residing in the New York tri-state area should indicate in their statement how they plan to stay in the area for the year-long duration of the residency. On average, Book Artists-in-Residence spend 20-40 hours per week in the studios and use the tuition waiver for 8-10 courses. The residency is not able support collectives or collaborations at this time.

Please visit the 'External Link' below for more information and to apply.

me to create; it’s also a time for artists to consider how their work engages with the history of its medium and how it intersects with existential questions of meaning and purpose.

Residency Period: Successful candidates will work with Tusen Takk staff to determine a three- to twelve-week residency period between March and December 2021.

A Tusen Takk Residency Includes:
-An honorarium of $625/week is provided to the artist to help cover residency-related costs including travel, shipping, materials, and day-to-day living expenses
-Housing in the Guesthouse outfitted with two bedrooms, one full bath, two half-baths and a living room/dining room/full kitchen area
-24/7 access to the Guesthouse’s Studios and Foundation Library
-An opportunity to present work in either a private or public setting
-Professional documentation of works and process (if desired)
-Promotion on Tusen Takk’s website and social channels
-Access to Tusen Takk’s staff
-An opportunity to engage with Tusen Takk’s staff, network, and be featured on our social channels beyond the residency period
-Occasional meals shared at the Tusen Takk Main House - note, the vast majority of the time the artist will be doing their own grocery shopping and cooking their own meals in the Guesthouse’s fully equipped kitchen
-To enable self-sufficiency, and because Tusen Takk is located outside of public transportation, taxi and delivery service, the artist will have use of a Tusen Takk vehicle during their stay (with a valid driver’s license)
-Access to the Director Geoffrey’s personal library of over 700 volumes and private collection by appointment

Residency Candidate Qualifications:
-The ability to produce a consistent body of high quality work
-Dedication to their artistic practice with a desire to spend at least 30 hours a week in the studio
-The self-motivation needed to work alone (Unless the residency is to be a collaboration between two people, the vast majority of the time the resident will be living and working in solitude)
-A willingness to engage audiences
-An openness to sharing thoughts on their work, their practice, and their processes through Tusen Takk’s online and printed publications
-Comfortable communicating with Tusen Takk’s English-speaking staff and audiences
-21 or older
-US citizenship or the ability to obtain a US visa (if needed). Most international artists can come on a visitor visa, but certain countries do not participate in the visa waiver program. Since delays can occur, international applicants should be sure to check the visa appointment wait times. Upon offer of a residency, the Tusen Takk Foundation is able to provide letter(s) of invitation.

Program Requirements:
In fulfillment of Tusen Takk’s mission, artists are highly encouraged to engage with the regional arts community when in residence. The context and form of this engagement opportunity are very flexible and can be coordinated with Tusen Takk staff either before or during the residency. Possibilities include a workshop, studio visit, or talk; or a public presentation or performance in collaboration with one of the Foundation’s partner organizations. Tusen Takk welcomes proposals from the artist about engagement ideas they might like to try during their residency here.

Artists should be willing to share their work, processes, and experience with audiences through Tusen Takk’s website, social channels, and printed publications.

In collaboration with the Director, Geoffrey Peckham, artists are asked to donate one work to the Foundation’s collection. Artists are also encouraged to leave behind a book as a contribution to the Foundation’s library for future residents.

Please visit the 'External Link' for more information and to apply.

s or asynchronous. Preferred subject are: sophisticated, new, or unusual printmaking techniques; professional career-management skills; print theory, critical race theory, queer theory, women’s studies, and printmaking history.  Courses should not require students to have access to a press or harsh chemicals. Submissions will be accepted June 15 – August 15, 2020 for Summer & Fall Terms, July – December 2020.

QUALIFICATIONS and REQUIREMENTS
The course should not be publicly available online through another public print shop’s online course offerings. Instructors must be experienced in teaching at the undergraduate, graduate, or post-graduate level. A graduate degree is preferred. Experience with online instruction is a plus.

FURTHER GUIDELINES
Coursework should relate to printmaking or art practice in a way that deepens the skills and knowledge of an adult, practicing artist. Instructors must have a computer, web camera, and a high-speed internet connection. Instructors will prepare pre-recorded demonstrations, slide shows, and other supplemental materials for the online platform. For synchronous courses, these will be shared and discussed in real time via Zoom meetings. Students will be able to interact in real time with the instructor. For asynchronous courses, the instructor must be willing to provide 2 separate times for office hours throughout the week throughout the course. Instructors must have pre-existing skills with developing video content or digital presentations (slide shows). MGC is not able to provide training or guidance on these matters. 

FORMAT
MGC will provide instructors with a temporary Zoom license. Only one Zoom license can be assigned per email, so if you already have a Zoom account associated with one email address, you will need to provide another email address for the purpose of teaching via MGC. We can offer brief training sessions with delivering the prepared content on the Zoom platform, if needed. 

COMPENSATION
For synchronous courses, instructors will be paid $40 per instructional teaching hour. For asynchronous courses, instructors will split proceeds with MGC 50%/50%. Please note that pricing for these classes will be lower per instruction hour for the student than that for the synchronous courses.

COURSE MATERIALS
For studio courses, please consider that our adult learners may have difficulty obtaining materials.  We anticipate that most students will have limited or no access to a press or harsh chemicals. Many are working from home with limited supplies and equipment.  If supplies are needed, we request that a complete list with vetted sources is provided at least one month in advance of the start of class.

For theory courses, if there will be a required reading list, please provide at least 3 weeks in advance.

​COURSE SESSIONS
Each course will have an online discussion section in our online member forum  “Isolation Art Club” that will allow students and instructors to connect between classes.

​​Asynchronous courses should be 30-45 minutes per session, with 4-10 sessions.

For Synchronous courses:
Classes will be limited to 6 - 10 students
​Sessions will be to 1- 1.5 hours each, 1-2 times per week.
We aim to keep classes to a maximum of 6 sessions.
A minimum enrollment of 3-4 students will be required to run the course​

​Please visit the 'External Link' below for more information and to apply.

tists to explore the creative possibilities inherent in the hand papermaking process, and to develop this medium as a contemporary art form.

The Dieu Donné Workspace Program residency includes an introduction to the medium and process, 5 days in the studio with a dedicated collaborator, and a $500 stipend. The residency concludes with a group exhibition. Each artist is paired with a master papermaker, creating a unique collaborative experience where a new medium can be quickly learned and put into practice. Experimentation is highly encouraged throughout the residency.

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

Please visit the 'External Link' below for more information and to apply.

s of drawings to cross-cultural and interdisciplinary exchanges. This panel investigates the vital role of drawings in the transmission of ideas, both within and beyond the early modern Low Countries, and their function as active agents to build networks, document encounters, and facilitate knowledge production. We seek to address questions that explore how and why drawings served as unique objects for the transmission of ideas in the early modern period: How did drawings act as points of contact between people, places, and objects? How were different media, for example, chalk, pen and ink, washes, or metalpoint, used for distinct purposes or merged to make new creations? Finally, in what capacities did drawings function differently from other media?

We invite papers that consider the unique material and technical qualities of drawings that positioned this medium as a vehicle for intellectual, educational, cultural, and professional transfer and contact. Sketchbooks, for instance, provided the ideal medium for travelling artists to capture ideas, copy down designs or document their surroundings. Meanwhile, travelling artists, merchants and diplomats alike would leave their pictorial marks in the alba amicorum of those they visited abroad. Drawings also enabled knowledge to move between disciplines. For instance, Samuel van Hoogstraten (1627-1678), in his art-theoretical treatise, advises his readers to make copies after his anatomical prints in order to quickly learn the shape and names of the muscles and bones, while medical practitioners made drawings when studying after a cadaver or documenting their patients’ maladies. Another fascinating example is how Rudolf II (1552-1612), in addition to collecting prints, commissioned albums of drawings from the artist Joris Hoefnagel (1542-1601), who incorporated natural specimens into his watercolour and gouache images. Finally, this session encourages speakers to consider how drawings provided a platform to express encounters and new ideas for non-professional draughtsmen. Think, for instance, of costume albums produced in the Ottoman Empire by Netherlandish travellers and merchants who were less technically experienced, such as Lambert Wijts (active 1572-1573).

Participants are invited to explore artistic exchanges across geopolitical, cultural and disciplinary divides. Contributions from other disciplines, such as the history of science, digital art history, and conservation are also welcome. We invite 20-minute papers that explore, but are not limited to, the following subjects:

- Material preferences
- Amateur vs. professional practice
- Ephemera
- Sketchbook/travelogues/letters
- Interdisciplinary exchange
- Cross-cultural contact
- Knowledge production and/or exchange

We ask that interested participants submit an abstract of no more than 250 words and a three-page CV to tschepers@getty.edu and erintravers@getty.edu by July 1st, 2020.

ts play a significant role for our knowledge of lost art, yet all too often prints have been used as mere “documents” of such objects. As works of art in their own right, they show us the “contemporary eye” and very often, they offer divergent facts. The analysis of lost works of art in print opens a great variety of questions: How close comes the print to the original, how much did the draughtsman, who prepared the drawing for the print, or the engraver himself alter, leave out or add to the original? Are there different approaches to the task of “reproducing” in the North or the South? Can one observe different attitudes to render paintings, sculptures or architecture in print in the long run of the Renaissance? This session aims to clarify these aspects, especially to show the double face of preserving the work of art and to produce a new one through line, light and shade, but also (at times) through observing nature in a more intense way and in creating a convincing ensemble, fusing the style of the depicted work of art with the style of the engraver.

Scholars of art history are kindly invited to send their proposal to the organizers Anne Bloemacher (annebloemacher@uni-muenster.de) and Claudia Echinger-Maurach (echinger@uni-muenster.de) before Friday, July 24, 2020.

Your email should include the following:
- Full name, current affiliation; if applicable, preferred email address, and PhD completion date (past or expected)
- Paper title (15-word maximum)
- Abstract (150-word maximum) with 3-5 keywords listed below
- A short CV (300 word maximum)
- Any audio/visual requirements

Please note: Speakers must become RSA members by November 1st to speak at the conference.

This panel is sponsored by the Association of Print Scholars.

try of gold, silk, and wool threads; painters completed the highly sought-after carved altarpieces produced in Brussels and Antwerp, both through the addition of wings and the application of polychromy to sculpture. This panel explores collaborative and intermedial encounters in Northern Europe, ca. 1400–1700, which brought together two or more artists or art forms. Consideration of such coordination between materials challenges the deeply entrenched disciplinary tendency to prioritize the solitary artist and self-contained material. The competition between the arts, especially painting and sculpture, in early modern art has been the subject of much critical study, and collaborations between famous painters, like Jan Brueghel and Peter Paul Rubens, have recently received attention. In contrast, this panel seeks to consider the ways in which both artists and objects worked across and between different media: how the interactivity of artists, named and unnamed, differed from solitary practice, and how artists variously employed media, including mixed media, multimedia, transmedia, and intermedia.

Rather than considering audiences’ reception of objects resulting from intermedial collaboration, this panel focuses on the creation of these works. Papers will examine the structures that enabled or prevented the production of objects that crossed the boundaries of a single material. The panel seeks to understand the processes that led to the collaboration of art makers across media in early modern Northern Europe.

Proposed topics may include, but are not limited to:
- Studies of multimedia, transmedia, or intermedia objects that explore relationships across and between media. Examples might include painted and carved altarpieces, stained glass and architecture, books and their covers, or the painting of musical instruments
- Combining, blending, and fusing of media in the visual and performing arts, such as civic rituals or pageants
- Tracing of artistic processes that require the cooperation of numerous makers, including the collaborative endeavors of print designers and block cutters or woodworkers’ models for metalwork
- Artistic self-consciousness or response to fellow artists
- The role of institutions, guilds, and patrons in fostering or limiting collaborations and combinations of media
- Consideration of the historiographic implications of interartistic and intermedial experiments and the development of the canon of Netherlandish art

As part of 90 minute-sessions, papers should be max. 20 minutes long. Proposals should present new, rather than published research and reflect the current state of scholarship.

Please send proposals of max. 500 words, along with a single-paged curriculum vitae, to the session chair(s): Elizabeth Rice Mattison, University of Toronto (elizabeth.mattison@mail.utoronto.ca) and Laura Tillery, Norwegian University of Science and Technology (laura.tillery@ntnu.no)

Deadline: July 1, 2020.

Applicants will be notified by the session organizers no later than August 1, 2020.