, publications, research projects and presentations.

Major Job Responsibilities
-Conducts research in the special collections and contributes to the conceptual development of a project by organizing/creating documentation of found materials, such as bibliographies, searching for and ordering texts, writing literature reviews, etc
-Requests images for exhibitions and/or publications; researches and obtains art and image permissions
-Proofreads, edits, and translates as needed
-Assists with creation of project websites and PowerPoint presentations
-May copyedit essays, author biographies, endnotes, etc
-May assist with organizing art programs for publications by communicating with authors, updating essay drafts, assisting editors in checking page proofs, proofing indexes, etc.

Qualifications
-MA/Ph.D. candidate/degree in either Art History, Classics, Early Modern History, Library Science or a related humanities field with strong skills and facility in navigating a major research library preferred
-0-2 years research experience (education may be considered)

Knowledge, Skills and Abilities
-Reading knowledge of at least two European languages essential and knowledge of Latin highly desirable, as is previous experience in dealing with rare books and primary archival materials.
-Strong computer skills a must, especially a ready ease in dealing with Microsoft and Adobe suites, as well as on-line research databases. Knowledge of Filemaker Pro a plus.

The successful candidate should be a highly organized multi-tasker with a warm, collaborative personality.

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

the institutional borders of mainstream media. Often advocating oppositional politics through lenses of gender/sexuality, race, carceral status, etc, activist periodicals were the product of editors, artists, and designers who took advantage of inexpensive technologies of reproduction and dissemination, as well as resources such as the Liberation News Service, to build wide-ranging networks through print. The carefully curated interplay between text and images offered readers opportunities for self-definition that reflexively consolidated group identifications. Formally, intellectually, and politically intersectional, this vernacular press often confounded publishing conventions, promiscuously blending genres and audiences. Intentionally blurring the boundaries between art and design, literature and journalism, these publications made cultural and political space for their readers, while occupying diverse real-world spaces. In this session, we will consider the global vernacular press in order to discover the shared structures and intersectional visual networks of 20th-century independent publishing.

We invite papers from artists, designers, and historians that explore every aspect of the visual culture of independent publishing in the 20th century. Papers might address, among other topics: practices of production, and how they were informed by politics, economics, and technology; reader/audience networks and dissemination; the invention, appropriation, or amplification of specific aesthetics of protest and resistance; self-fashioning and the authentication of readers’ lives and experiences.

The deadline for proposals is October 21, 2019.

Please visit the 'External Link' below for more information and to submit your proposal.

sois Curator of Prints and Drawings, the Art Institute of Chicago. Fifty prints will be on display at the LUX Center for the Arts, and 25 will be on display at Constellation Studios.

This inaugural biennial of relief prints here in the center of America will showcase artists from around the country and abroad, all selected from an open call for entries. The works on exhibition focus on the role of the relief print as a means of cultural critique and exploration of this ancient but newly invigorated discipline as practiced and defined by today’s artists.

The LUX Center for the Arts, in cooperation with Constellation Studios, will present ‘Surface Impressions,’ an ambitious exhibition focusing on hand-produced relief prints from woodblock, linoleum cut, wood engraving, and mixed media relief prints.

This showcase will bring fine art prints to the forefront, enabling Lincoln, the LUX Center for the Arts, and Constellation Studios to join in a world-wide conversation about creative innovations in prints.

Dates + Details:
December 1, 2019 – Open for Submissions (online)
April 1, 2020 – Deadline for submissions
April 15, 2020 – Artists Notified
June 3-6, 2020 – Juror events, opening, award selection
Summer 2020 – Events, workshops, steamroller printing

Eligible works: Original fine art prints from woodblocks, wood engravings, linoleum, and alternative relief surfaces; prints are to be printed on paper; created in 2017 to 2020.

All national and international artists (18 years and older) are eligible to enter 3 works.

Please visit the 'External Link' below for more information and to access the application (those details may be TBA; please check back soon, if so).

y for conference attendees to present their prints to their peers, their mentors, and the general public. Members show their prints on tables alongside one another in 1-hour sessions, in one large event hall. In this jam-packed, exciting event, thousands of prints can be seen within a four-hour period. The conference’s 1200+ attendees are free to walk through, view the works on display, and meet the artists.

From the SGCI website:
The printmaking world doesn’t just need artists and educators—it needs it needs writers, gallerists, and curators.

This year SGCI is putting a new twist on the Open Portfolio! We’re transforming it into a live, malleable “happening” where exhibitions will be culled from the work shown by Open Portfolio participants and featured at the conference as the 2020 Open Portfolio Exhibitions. The Open Portfolio will provide content for the conference by highlighting the work and focusing upon the ideas evidenced in the moment at our annual gathering.

To cultivate the roles of curators, gallerists, and writers, both within our community and beyond, SGC International and Puertográfico are seeking members interested in being a part of the three curatorial teams that will present the 2020 Open Portfolio Exhibitions.

Each curatorial team will include:
- one lead curator
- one graduate student curatorial assistant
- two undergraduate student curatorial assistants
- one student critic

The lead curators of the three teams will include one Puerto Rican Curator (external-to-SGCI, receiving a $500 honorarium), one Open Call Curator (external-to-SGCI, receiving a conference waiver, lodging at the conference hotel, airfare, and a $500 honorarium), and one SGCI Student Curator (receiving a $500 honorarium).

Exhibition themes or topics will be determined by the curators and curators must choose pieces to be exhibited from the works shown at Open Portfolio. The show is not to be worked out in advance of Open Portfolio. The curator, however, may have an organizing principle in mind.

Together each curatorial team (minus the team critic) will:
- mine the morning’s three Open Portfolio sessions to form an exhibition;
- develop their exhibition on Thursday afternoon;
- notify artists of their participation in exhibitions by Thursday evening at 7:00 PM;
- use Friday to plan their exhibitions, prepare curatorial statements, and prepare thoughts for the Curators’ Forum;
- present their reflections upon the Open Portfolio at the Saturday morning Curators’ Forum;
- hang the shows on Saturday afternoon.

Saturday evening the exhibitions will open as a part of the Puertográfico closing festivities—The 2020 Open Portfolio Exhibitions, the SGC International Awards Ceremony, and the Printmakers Ball.

The 2020 SGCI Open Portfolio Exhibitions will add an element of spontaneity to the conference and ensure that it is about printmaking right now! By the end of the week, Open Portfolio participants may find themselves with an exhibition in San Juan; emerging artists interested in curation will gain experience from working with those already in the field; artists and curators will make connections; and the membership at large will get to watch it all unfold.

The following positions are open for applications:
- Open Call Curator (external-to-SGCI)
- SGCI Student Curator
- Graduate Student Curatorial Assistant
- Undergraduate Student Curatorial Assistant
- Student Critic

Please submit your CV and a statement of intent (300 word max) including your experience working with prints, drawings, artist's books, and works on paper through the online form at the 'External Link' below.

the Fitzwilliam Museum’s outstanding collection of around 2,000 botanical drawings, watercolours and prints, dating from the sixteenth to the twenty-first century. These include superb examples by the most renowned and influential practitioners of the genre, mainly European, as well as artists of the Chinese, Japanese and Indian schools.

The Growing Networks project, led by Jane Munro, Keeper and Henrietta Ward, Assistant Keeper in the Paintings, Drawings and Prints department, sets out to establish and nurture a network that will bring together curators with responsibility for important collections of botanical works of art on paper throughout the UK, working in art museums, libraries, archives, botanic gardens and herbaria. It presents a valuable forum for discussion for curators with diverse subject specialisms, linking botanists and plant scientists with art curators and paper conservators who have expertise in technical analysis and collections care, enabling us to share knowledge, resources and ideas.

The project will take the form of a colloquium, a series of workshops and collection visits from 7 - 15 June 2020. The workshops are based mainly in Cambridge at the Fitzwilliam Museum, but also include sessions in the Cambridge University Herbarium and the Museum of Archaeology and Anthropology. Significant time will also be spent at the Natural History Museum, Royal Horticultural Society Lindley Library and Kew Gardens in London and the Royal Botanic Garden in Edinburgh. A small number of specialists in botanical art, conservation and curation will form part of the group to ensure participating curators benefit from their expertise, and extend networking opportunities.

The Fitzwilliam, therefore, welcomes applications from curators working not only in art museums, but in libraries, archives, history museums and herbaria. Applicants will be selected on the basis of the significance of the collections for which they have responsibility, and their own research interests. Preference will go towards those with demonstrable interest in and experience working with botanical works of art on paper, but we will also consider those who have future aspirations and/or an upcoming curatorial project which focuses on this area. Around 10 participants will be admitted to the programme.

Growing Networks is generously supported by The Getty Foundation, as part of The Paper Project: Prints and Drawings Curatorship in the 21st Century.

We welcome applications from international participants but cannot cover travel to the UK. All UK travel, accommodation and meal expenses will be covered by the grant.

Deadline: Sunday 13 October 2019. Late applications will not be accepted.
Participants will be selected and notified by the end of November.

Questions about the programme may be directed to Jo Vine, Research Facilitator: jrv31@cam.ac.uk.

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

d Foundations (Drawing and Design) and should have a strong background in Intaglio and Relief Printmaking with a demonstrated record of collaborations and exhibitions. Additionally, an active creative record and evidence of university service will be expected. The successful candidate will also be expected to interact and collaborate with the faculty members and students (undergraduate and graduate) in the Department of Art. The Assistant Professor in the Department of Art provides educational services to traditional and non-traditional students during the day or evening; teaches graduate- and undergraduate-level courses in Art along with graduate-level research and advanced data analysis; and may be required to teach courses within his/her concentration area on campus, off campus, online, and, possibly via videoconferencing depending on need of location.

Essential Functions:
-Assesses student’s abilities as related to desired educational goals and objectives, in order to maximize student achievement.
-Serves as advisor and mentor for students.
-Plans and employs a variety of appropriate instructional/learning strategies and activities which are compatible with the physical facility but serves the needs and capabilities of the students.
-Manages the behaviors of learners in the classroom and participates in the management of student behavior in other parts of the campus, in order to provide a general environment conducive to the learning process.
-Communicates continually to students (either in writing or verbally) in regards to instructional expectations, student progress or lack of progress.
-Responsible for recording students’ attendance and keeps attendance registers, according to JSU policy.
-Actively participates in and works with university personnel in planning effective instructional goals, objectives, methods and curriculum.
-Exhibits a commitment and ability to conduct scholarly activities and engage in professional, university, and community service.
-Participates in professional growth and development activities including staff meetings, and in-service and staff development activities as required or assigned.
-Assists in the documentation of student progress by efficiently maintaining and submitting appropriate records and reports.
-Ensures that the classroom or instructional environment is healthful and safe and generally conducive to learning.
-Agrees to participate in extra-curricular activities as requested by the head of the department or Dean of the school.
-Participates and belongs to educational/professional associations (within concentration) and participates in their activities.
-Fulfill faculty responsibilities as stated by institutional and departmental policy and by administration.
-Serves on departmental and university committees.
-Performs other duties as assigned by the department head.

Required Minimum Qualifications:
MFA in Printmaking or equivalent

Preferred Qualifications:
-A strong background in Intaglio and relief printmaking
-Demonstrated record of collaborations and exhibitions
-Ability to teach in Art Foundation Courses

Requested Start Date:
August 13, 2020

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

begin August 2020. The Department offers the Bachelor of Arts degree in Art History, Art Studio, and Graphic Design as well as a number of minors. This highly collaborative and active department encourages close-knit classroom experiences and promotes experiential learning that highlights faculty areas of expertise and research. For example, Coastal Carolina University’s in-house press, The Athenaeum Press, promotes interdisciplinary projects initiated by both faculty and students, which allows faculty to develop and expand their research pursuits on campus. Simultaneously, faculty are urged to take advantage of CCU’s opportunities to teach and research abroad through its Center for Global Engagement.

The Visual Arts Program of the Edwards College seeks a dynamic printmaker who will participate in further advancing and growing the future of our printmaking program. The successful candidate will have a strong, active exhibition record as well as an intricate knowledge of traditional and contemporary printmaking. Candidates should have a strong background in printmaking methodology, with an ability to speak to contemporary practices across genres. The candidate will also have a thorough knowledge of two-dimensional design, as they will be expected to teach such classes within foundations, drawing foundation in particular. Additionally, we expect the candidate to be well versed in the following techniques and concepts: dry and wet paper printing methods, relief, intaglio, planographic, and silkscreen processes; art/craft/cultural theory, and material science. Special consideration will be given to those with experience in drawing 1, drawing 2, life drawing, color theory, abstract, and alternative modes of drawing.

Candidates must hold an MFA/terminal degree in printmaking with a minimum of two years teaching experience beyond the assistantship level, and demonstrate a commitment to student learning, an inclusive pedagogy, and to diversity, equity, and inclusion. Candidates should have a successful record of professional activity and research in their field. Salary is nationally competitive.

Application Process:
We plan to conduct Skype interviews prior to the CAA conference, and bring candidates to campus based on those interviews.

Interested candidates must complete an online application at http://jobs.coastal.edu. For the online application process the applicant must submit individual PDF documents, no larger than 2MB each or web links to the files, for the following information:
Cover Letter
Curriculum Vitae
Descriptive statement about teaching that may also address how diversity, equity, and inclusion is promoted in the classroom
20 Examples of Research or Personal Work
20 Examples of Student Work
Reference list with contact information

The online application will require the submission of three references with contact information. An email will be automatically generated requesting letters of recommendation from these specific references. Candidates must submit all materials by November 1, 2019 for full consideration.

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

estions of connoisseurship. Proposals on a variety of subjects with a substantive component of research on drawings, prints, and illustrated manuscripts done on paper or parchment types are welcome.

I Tatti offers Fellows the precious time they need to pursue their studies with a minimum of obligations and interruptions together with a maximum of scholarly resources—a combination that distinguishes the Harvard Center from similar institutions. Each year, a limited number of activities organized at I Tatti are reserved for the Fellows, and they are expected to join the wider community at conferences, lectures, and concerts. This is a residential fellowship of 4 or 6 months in length. One fellowship is available every year.

Eligibility
At the time of application, scholars have a PhD in hand and will be asked to upload a scan of the certificate. They may not be working on a second PhD at the time of application. Applicants must be conversant in English and have familiarity with Italian. Priority will be given to early and mid-career scholars. It must be possible for applicants to carry out most of their research in Florence. I Tatti welcomes applications from scholars from all nations and gives special consideration to candidates without regular access to research materials and facilities in Italy. Applications are evaluated by international scholars. The selection committee aims to assess the ability of candidates to contribute in a collegial way to the intellectual life of the Harvard Center.

Short-term Fellowships at I Tatti can be held only once and cannot be deferred. Short-term Fellowships are intended for scholars who have not previously held appointments at I Tatti (with the exception of Graduate Fellows).

Terms
The stipend is $4,000 per month, plus a one-time supplement (maximum, $1,500) towards relocation expenses. In light of the residential nature of the fellowship, Fellows must live in the Florence area and spend at least three days a week at the Center. When possible, a one-bedroom apartment will be set aside for the Fellow’s use, rent free, but with charges for utilities. If an apartment is not available, $1000 per month will be offered to help offset rental costs.

Applicants should indicate their preference between fall (September through December) and winter-spring (January through June). Fellows enjoy all the privileges of the Harvard Center, including use of the Biblioteca Berenson seven days a week and lunch with other Appointees from Monday through Friday. Short-term Fellows do not receive an office or study, but they will have their own desk or carrel in the Library itself. Fellows may not take on any other obligations such as teaching positions, even part-time ones, during any part of their Fellowship period.

The Fellow is responsible to obtain a visa, permesso di soggiorno, and health coverage (and, if appropriate, for accompanying family members). The Fellow must determine if a visa is required and, if necessary, obtain one before travel.

Application
Applications can be written in English or Italian and must be submitted electronically by midnight (Cambridge, MA time) on November 15, 2019. Scholars can applyfor only one fellowship at I Tatti per academic year.

Letters of Recommendation
Applicants must have two scholars who know their work well submit recommendations online by November 20, 2019. These recommendations can be written in English or Italian.

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

he collections support research in all areas of the humanities, including art and art history.

The Center houses a significant collection of artists’ books and livres d’artiste; visual poetry; archives and visual materials related to publication history, book art, and book design; materials related to the history of typography and fine presses; original illustrations by artists ranging from Eric Gill to Miguel Covarrubias to John Biggers; and works by and related to notable literary figures. The collection includes significant works on paper by French and Latin American modernists, 19th- and 20th-century visual satire, and contemporary artist collaborations with Peter Blum Edition, the Limited Editions Club, and other fine presses. Particular archival strengths include papers and works of Nancy Cunard, Charles Henri Ford, Pavel Tchelitchew, Ed Ruscha, Elizabeth Olds, and Anita and Leah Brenner. Research in the art collection is further enhanced by the Center’s extensive related holdings in photography, performing arts, film, early books and manuscripts, and literature.

A preliminary search of the Center’s art holdings can be undertaken through the website, www.hrc.utexas.edu; in addition, applicants are strongly encouraged to contact Curator of Art Tracy Bonfitto at tbonfitto@utexas.edu to discuss materials of possible interest when preparing their applications.

The deadline for applications, which must be submitted through the Center’s website, is November 11, 2019, 5 p.m. CST.

All applicants, with the exception of those applying for dissertation fellowships, must have a Ph.D. or be independent scholars with a substantial record of achievement.The fellowships range from one to three months, with stipends of $3,500 per month. Travel stipends and dissertation fellowships provide stipends of $2,000. For all fellowship categories, an additional, one-time $500 stipend will be provided to individuals who are a citizen or resident of a country other than the U.S. to contribute to the costs associated with the J-1 visa and/or international travel to Austin.

Fellowship residencies may be scheduled between June 1, 2020, and August 31, 2021. During the fellowship, scholars will work on-site at the Ransom Center in Austin, Texas.Fellows will become part of a distinguished group of alumni. Since the fellowship program's inauguration in 1990, the Ransom Center has supported the research of more than 1,000 scholars from around the world.

For details and application instructions, visit: https://www.hrc.utexas.edu/fellowships/application-instructions/

Questions about the fellowship program or application procedures should be directed to ransomfellowships@utexas.edu.

Please visit the 'External Link' below for more information about eligibility and the application process.

m gallery during PrintAustin 2020.

The call for submissions closes on November 1.

The Contemporary Print is a survey of traditional printmaking techniques and innovative approaches in contemporary printmaking. While non-traditional or digital output is accepted as a print element, submissions must utilize traditional print media as their primary technique. These include lithography, relief, intaglio, silkscreen, photo polymer plate (i.e. SolarPlates), and monotype. Solely digital and photographic prints are not eligible. For questions regarding eligible media, please contact admin@printaustin.org.

ABOUT BIG MEDIUM
Big Medium is a 501(c)(3) nonprofit organization dedicated to supporting and promoting contemporary art in Texas. Big Medium produces the East Austin Studio Tour, the West Austin Studio Tour, the Texas Biennial, and presents innovative exhibitions throughout the year in the Big Medium Gallery. Big Medium provides affordable studio space to artists, and partners with various organizations in Texas to help foster the arts and facilitate an inclusive cultural dialogue between artists and their communities.

ABOUT THE JUROR
Texas-born curator, artist, and doctoral candidate, Claudia Zapata, joins us from the Smithsonian American Art Museum, where she currently acts as the Latinx art curatorial assistant in support of their upcoming exhibition ¡Printing the Revolution! The Rise and Impact of Chicano Graphics, 1965-Now. Claudia's passion for Chicanx and Latinx art, and identity-based exhibitions has inspired her previous work as the Curator of Exhibitions and Programs at Mexic-Arte Museum, the Co-Founder of the Puro Chingón Collective, and now the pursuit of a Ph.D. in Rhetorics of Art, Space and Culture at Southern Methodist University.

AWARDS
The PrintAustin Award ($500 cash) is given to one outstanding artist part of The Contemporary Print 2020.

ELIGIBILITY
Open to local and international artists 18 years or older. Any 2-D or 3-D work including ceramics, sculpture, mixed media, and artist books that uses printmaking as the sole or primary technique in its execution are eligible. Work cannot exceed 72 inches (183 cm) in any direction. Works that have exhibited in past The Contemporary Print exhibitions are not eligible to be considered for this year’s exhibition. We appreciate your cooperation in helping us provide a fresh and current survey of printmaking today.

Please visit the 'External Link' below for more information about the calendar, commission and fees, entry guidelines, and to access the submission form.