Under the supervision of the Curator in Charge, and in coordination with the Curator of Prints and Drawings, the Assistant or Associate Curator provides support to the day-to-day operation of the Department, contributing to the care, interpretation, presentation, and acquisition of the collection of more than 90,000 works on paper. This position works effectively and collegially with a broad range of staff, donors, trustees, paper and book conservators, curatorial support group members, and the general public. A commitment to collaboration and public engagement, and the ability to achieve and sustain best curatorial practices, are essential.

Applications are reviewed on a rolling basis until the position is filled. Priority will be given to applications received by Sunday, December 7, 2025. We plan to launch the interview process in mid-December.

Long-Term Fellowships are intended to support individual scholarly research and promote serious intellectual exchange through active participation in the Newberry’s scholarly activities, including Fellows’ Seminars and Weekly Colloquium.

These residential fellowships are available to scholars who hold a PhD or other terminal degree for 4 to 9 months with a stipend of $5,000 per month. Awardees may combine their Newberry fellowship award with sabbatical funding or other stipendiary support.

Applicants must hold a PhD by the November 21 deadline.

At its May, 2023, annual meeting, the AHPCS Board voted to add two essay awards to recognize shorter works published in journals and edited volumes, including exhibition catalogues and digital formats. 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 present Newman Award Committee will serve as the jury to evaluate these additional submissions. Jurors are all AHPCS members and include collectors, curators, and scholars of American prints.

The purpose of the 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. 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. 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.

Each annual cycle typically will result in one Book Award in the amount of $2,000 and two Essay Awards in the amount of $750 each. One of the essay awards will be designated for the best article in the AHPCS journal Imprint, as selected by the 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.

SUBMISSION & CONTACT INFORMATION
- Submission deadline: December 1st
-Please contact the chair of the Newman Book Award committee for instructions on mailing a copy of the publication:
Helena Wright, chair
Email: wrighthelena16@gmail.com

Join our collaborative team and play an important role in shaping our work! We’ve developed a vibrant series of virtual and in-studio book arts workshops and community programs; we are looking to grow our programs and share book arts in Minnesota and beyond.

About the Internship
MCBA Education Interns will support the education team with a combination of in-person and remote projects. Learn about and gain experience in our in-person and virtual book arts workshops and community engagement events.

Primary areas of focus include (but are not limited to):
● Learn about MCBA’s virtual programs, the online platforms MCBA uses to offer programs (Zoom & Google Classroom), and how our programs are facilitated.
● Participate in virtual workshops on Tuesdays, Wednesdays and occasional Saturdays by
supporting teaching artists and participants with tech and facilitation needs. This includes: opening the virtual classroom, greeting the teaching artists and participants, introducing the online platforms to participants, providing tech support as needed, and corresponding with workshop participants about virtual programs.
● Support Saturday studio workshops and staff onsite at MCBA. This includes: welcoming
teaching artists and participants, documenting in-person workshops for promotion, occasional teaching artist support, and various projects as assigned.
● Support MCBA’s community outreach programs and gain in-person classroom experience.
This includes giving studio tours, assisting with workshops and drop-in printing activities at MCBA and at partner locations, and helping with MCBA’s winter series of workshops at Hennepin County Libraries. Transportation from MCBA to libraries (and most other offsite events) provided. Community outreach programs take place on select weekdays, evenings, and Saturdays; specific dates and availability to be discussed.
● Co-lead papermaking activity for youth ages 10–18 at MCBA’s Book Artist Badge Day on
March 21. Activity specific training provided by MCBA staff in advance of the event.


Helpful Prior Experience
Reliability, punctuality, and good communication skills are key to success in this role.
● Experience or interest in any book arts area, art education, and/or arts administration
● Ability to speak to a group with confidence
● Experience using Zoom or other online meeting platform(s)
● General comfort with technology

Internship Dates & Schedule
The internship runs from January 3rd through April 30th, 2026 for approximately 6-8 hours weekly, with initial onboarding and training to take place during the first two weeks of January. We plan to work with two interns. Interns must be available for the following schedule for the duration of the internship. Additional internship hours may be scheduled based on the intern's interest and availability.
Important note: While some elements of this internship may be performed remotely, the person in this position will need to be available to work onsite in our studios and offices. The intern must be able to provide their own desktop or laptop computer and have regular access to a secure internet connection for remote virtual workshop facilitation.

Education Intern Schedule:
● Remote Tuesdays & Wednesdays 4-9pm Central Time (CT)
● In-Person Saturdays onsite at MCBA 9am-2pm Central Time (CT)
● Optional In-Person Opportunities on select weekdays, Thursday & Friday evenings and Sundays (hours vary)

Benefits
Intern will receive a $800 stipend. In addition to on-the-job educational experience, interns receive a free one-year membership to MCBA, which includes a 10% discount on workshop tuition and retail purchases. This internship includes free participation in every workshop the intern is assigned to facilitate (the intern may choose if they would like to purchase supplies and/or materials kits for workshops as applicable). After completion of 100 hours, interns may register for one free MCBA workshop (which they do not need to facilitate) of up to 12 hours.

To Apply

2026 Graduate Student Art History Symposium: "'Ghost Stories for Grown-Ups': Hauntings, Afterlives, and Reawakenings"
Washington University in St. Louis, February 13–14, 2026
Deadline: December 8, 2025

The Department of Art History and Archaeology at Washington University in St. Louis is seeking papers for its 2026 Graduate Student Art History Symposium (GSAHS). The theme of the symposium is "'Ghost Stories for Grown-Ups': Hauntings, Afterlives, and Reawakenings" and the event will be held in-person on our campus in St. Louis on February 13–14, 2026.

While working on the Mnemosyne Atlas (1925–1929), Aby Warburg characterized his art historical practice as a “ghost story for grown-ups.” As scholars, we are often all too familiar with recurring images, motifs, and ideas that persist in the canon or emerge from the archive as if of their own volition. Similarly, many communities have their own traditions and tales of spirits or spectral encounters that linger in visual culture. Many studies across the humanities have attended to the culture of the afterlife, both literally and figuratively. In his book Specters of Marx (1993), Jacques Derrida introduced the theoretical framework of “hauntology” to consider elements of the social and cultural past that endure and reappear in a manner of ghostliness. Furthermore, sociologist Avery Gordon contends that such hauntings are an index of “dispossession, exploitation, and repression” that reemerge in order to demand being addressed. This symposium seeks to lift the veil by critically engaging with hauntings, afterlives, and ghostliness as both cultural phenomena and a conceptual model for art historical inquiry.
We invite current and recent graduate students in art history, archaeology, visual culture and related disciplines to submit abstracts for this symposium. Submissions may explore aspects of this theme as manifested in any medium, historical period, cultural, and geographical context.

Keynote Speaker: Dr. Patrick R. Crowley, Associate Curator of European Art at the Cantor Arts Center, Stanford University

We welcome potential topics from any time period/geographical area that contend with ghosts, phantoms, spirits, or hauntings, including but not limited to:
• Spirit photography
• Ghosts, spirits, and demons in historical folk and religious art
• Spectral images in theatre and cabaret performances
• Paranormal and horror cinema
• The afterlives of artworks, motifs, notable figures, or ideas
• The persistence and/or reemergence of repressed peoples, beliefs, and images
• Art made in the wake of war, genocide, or tragedy
• Mausoleums, tombs, memorials, or other elements of the built environment meant to connect the living with the dead
• The display of human remains, sacred relics, and objects that house spirits in museums, cultural institutions, and tourist attractions


To apply:
Submit a 350-word abstract and a CV in a single PDF file by Monday, December 8, 2025, to Jillian Lepek and Hannah Wier at gsahs@wustl.edu. Selected speakers will be notified by Friday, January 2. Paper presentations must not exceed 18 minutes in length and should be accompanied by a PowerPoint presentation. The symposium will be held entirely in-person at Washington University in St. Louis. Modest honoraria will be provided to student speakers to offset the cost of travel and accommodation.

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.