Durham Press is seeking a full time Fine Art Printer for our studio in Upper Bucks County, PA. Candidates for this position should have experience in printmaking (woodblock, silkscreen, and/or etching) or a closely related field. An interest and understanding of contemporary art, printing, CAD and Illustrator, and/or carpentry/welding is also an asset. This high-paced job requires assisting in the proofing and production of all projects. Candidates should have a positive attitude, great attention to detail, and be able to work efficiently on their own, as well in a team environment.

REQUIREMENTS:
· College degree and / or a combination of professional experience and education preferred
· Positive and professional attitude
· Excellent communication and problem-solving skills
· Ability to stay focused and composed under pressured situations
· Strong work ethic

DUTIES:
· Assist with the production of the entire edition from start to finish – often on multiple projects simultaneously
· Assist preparing and mixing color for all projects
· Maintain daily upkeep of the studio and darkroom
· Maintain all necessary studio supplies and paperwork for each project
· Responsible for following and keeping up with all safety procedures in the studio

The position is Monday through Friday from 8am – 4:30pm, with occasional late or weekend hours, and includes full time benefits. To be considered, please submit a cover letter, resume, portfolio, and three references to: apply@durhampress.com.

We will be conducting interviews with qualified candidates. Please be advised that due to the high volume of applicants, you will only be contacted if your skills and qualifications meet our needs. Thank you for your interest in opportunities at Durham Press.

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

Writing in 1781, English antiquarian Horace Walpole reflected on the Inka custom of knotted record-keeping known as the khipu, professing himself “so pleased with the idea of knotting verses…that if I were to begin life again, I would use a shuttle instead of a pen.” Going on to explore the linguistic implications of both the khipu’s feel and scent, Walpole’s discussion draws attention to concerns over the materiality of language in the eighteenth century. Over the course of the century, a burgeoning trade in encyclopedias, scientific atlases, and technical treatises gradually reordered the unruly logic of physical experience into a more systematized and largely textual form. In this context, the sensory capacity of language came increasingly under scrutiny. While a growing body of literature has sought to investigate this problem through the images that often accompany such texts, this panel explores the material form of the text itself. How did individual letter forms function as repositories of material knowledge? What can a material history of the word tell us about the relationship between language’s abstractions and sensory knowledge in the long eighteenth-century? Drawing inspiration from Walpole’s notion of the khipu as a “soft language,” this panel seeks contributions that explore the range of material practices through which text was produced in the eighteenth century—from the casting of type to the threading of needles. Papers that examine this notion of a tactile language from outside or in contact with the West are particularly encouraged.

Panel chair: Elizabeth Bacon Eager, Southern Methodist University (eeager@smu.edu)

To submit a paper proposal, please email the following (with subject: “APS CAA 2020 submission”) to the session chair before July 23, 2019:
- Completed proposal form (Click 'External Link' below to download)
- A shortened CV (close to 2 pages).

All session participants must be CAA members. Please note that a paper that has been published previously or presented at another scholarly conference may not be delivered at the CAA Annual Conference.

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

Print Quarterly invites applications for a program dedicated to prints connoisseurship and curatorial practice, spanning from printmaking techniques to innovative strategies of display and public engagement in a museum context. The program will take place over four days in London and its vicinity. Most sessions will be held in museum print rooms, but insights into commercial print publishing, current printmaking and the primary and secondary art market will also be provided. The program will be led by the Editor of Print Quarterly with the contribution of international senior experts in the field.

The program is tailored to early and mid-career curators with responsibility for prints and works on paper seeking professional development. Applications from advanced graduate students pursuing a thesis on a print-related topic and scholars involved with print curating will also be considered.

Travel, accommodation and meal expenses will be covered by the program.

The program is supported by THE GETTY FOUNDATION, as part of The Paper Project: Prints and Drawings Curatorship in the 21st Century.

To Apply
Applications should be emailed as pdf documents to curating@printquarterly.co.uk and consist of:
- A letter of intent summarizing your interest in the program. The letter should describe your current responsibilities and work, your future hopes and ambitions and an explanation of how participation in the program might help you achieve your goals. It should also include your thoughts about what you would hope to see covered in the program and wish to learn from it.
- A curriculum vitae that includes your name, title, affiliation, postal and email address, nationality/citizenship, languages spoken, education, publications, and name and contact details of two references.

Deadline: 20 September 2019

Participants will be selected and notified by late October 2019.

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

The Morgan Library & Museum’s Department of Drawings and Prints seeks a part-time assistant to support the work of the curators and the activities of the department and of the Drawing Institute. Responsibilities will include: managing visits to the Drawing Study Center, coordinating movement of collection items, assisting with the programs of the Drawing Institute, updating exhibition and collection databases, professional email and phone correspondence, managing and booking program-related travel and budgets, and other routine departmental duties. The position reports to the Head of the Department of Drawings and Prints and works closely with the department’s full-time administrator.

The position requires 2 days per week on average.

The Morgan Library & Museum is committed to diversity and is proud to be an equal opportunity employer.

Qualifications:
M.A. in Art History or Museum Studies preferred
Familiarity with the field of European Art and/or old master drawings
Experience in handling rare materials an advantage
Excellent organizational, writing, and communication skills
Ability to work independently and on several projects at once
Basic computer skills (MS Word, Excel, Powerpoint) essential; familiarity with InDesign, Photoshop, and museum database programs (including TMS) preferred.
Ability to work for extended periods at a computer workstation, lift moderately heavy boxes, move items to and from shelves, climb step ladder, wheel carts with collections items through the facility, and tolerance for moderate levels of dust and odor generated during normal collections management activities and movement of objects
Compensation:
Competitive hourly rate

To apply:
Interested applicants should e-mail a cover letter, CV, names of references, and salary requirements to: drawingsadmin@themorgan.org

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

Each year, three artists are selected to participate in the Jerome Emerging Printmakers Residency at Highpoint, the premier community-access printmaking workshop in the Upper Midwest. The 10,000 square-foot, ADA compliant center is fully equipped to support intaglio, relief, lithography, and screenprinting.Thanks to the generous support of the Jerome Foundation, this program has existed since 2003 and has served more than 40 emerging printmakers. The residency begins in September and ends with a culminating exhibition in May.

GENERAL INFO:
Three applicants will be chosen to become 2019-2020 Jerome Residents at Highpoint Center for Printmaking.
These artists receive:
-Nine months of access to a state-of-the-art printshop
-Technical support from the residency coordinator
Storage space for tools and materials
-Use of inks and standard shop supplies
-50% discount on Highpoint classes
-Group discussions and critiques
-Group exhibition and public reception at the end of the residency
-Professional digital documentation of exhibited artwork
-$1000 stipend

ELIGIBILITY:
The Jerome Residency program is open to emerging Minnesota printmakers who already possess training in traditional printmaking techniques, and can provide original examples of such work. An “emerging” artist is generally defined as an artist who shows significant potential, yet has not received a commensurate amount of professional accomplishment and recognition regardless of age or recognition in other fields. Highpoint and the Jerome Foundation reserve the right to review and determine applicant status as emerging.

Applicants will be judged on the artistic merit of their work, their dedication, interest, and potential in printmaking, as well as the quality and clarity of their plan for the residency. To be eligible, artists must illustrate proficiency in at least one traditional printmaking technique (intaglio, lithography, screenprinting, monoprinting, or relief). Residents will be expected to observe Highpoint’s studio policies, guidelines, and etiquette as well as the conditions outlined in the Jerome Resident Contract. Artists are also expected to give a brief gallery talk during their exhibition. Priority will be given to artists who have had little or no opportunity to work in a professional, non-academic printshop environment. Artists may not be a student during the residency period (September 2019 – May 2020). Minnesota residency must be maintained during the entire program. In addition, applicants must have resided in MN continuously since September 1, 2018 or earlier. Highpoint Center for Printmaking provides equal opportunity to all individuals regardless of race, national origin, color, gender, age, religion, sexual orientation, or disability. Artists of color are strongly encouraged to apply.

A panel of professionals including artists, curators, and arts administrators will review all submitted materials and select three artists to be residents.

SCHEDULE:
Applications due Monday, July 15, 2019 by 5pm at Highpoint (please note this is not a postmark deadline!)
Notification: Late August 2019
Dates of residency: September 2019 – May 2020 (nine months)

Please visit the 'External Link' below for more information, including a full list of application requirements/materials due by July 15.

The Art Department at Hollins University in Roanoke, Virginia invites applications for a Visiting Assistant Professor of Art with an emphasis in printmaking and drawing. This is a one-year faculty appointment with benefits beginning August 1, 2019 with the possibility of a one-year renewal.

Hollins is an independent, liberal arts university offering undergraduate education for women, selected graduate programs for men and women, and community outreach initiatives. The Art Department is housed in the Richard Wetherill Visual Arts Center, a spacious and exemplary facility with excellent teaching areas. The department has dynamic programming, including the Frances Niederer Artist-in-Residence and active co-curricular opportunities. The Visual Arts Center is also home to the Eleanor D. Wilson Museum, which serves the department, university, and Roanoke community as an active cultural resource.

The position carries a teaching load of five courses during the academic year that includes a January term class for a 2-1-2 class distribution. Courses to be covered include one semester of “Introduction to Drawing,” one semester of “Advanced Drawing,” and two semesters of “Printmaking.” The January term course may be more experiential or project-based in nature.

Applicants must have a demonstrated ability to teach the theoretical and critical aspects of art making, in addition to the technical aspects; commitment and passion for undergraduate teaching for both studio art majors and non-majors; and a desire to participate in a department that emphasizes both the study and practice of art in a liberal arts setting. Hollins University is committed to the core values of diversity and inclusion. Applications are sought from members of underrepresented populations and those who have demonstrated success working with diverse populations. Candidates are encouraged to comment, either in their cover letter or in a separate statement, on how their writing, research, teaching, and/or service experience will enhance the institution’s efforts to support these values and an increasingly diverse student population.

Candidates must have a M.F.A. with a concentration in drawing, printmaking, or other closely related studio arts area, and a demonstrated history of professional engagement, including exhibition record and/or other productivity. Preference will be given to candidates with significant teaching experience at the college level.

Qualified candidates should submit a cover letter, a curriculum vitae, an artist statement, a separate statement of teaching philosophy, 20 clearly labeled examples of personal work, 20 clearly labeled examples of student work, names and contact information for three references, and graduate school transcripts (unofficial transcripts are acceptable) to artsearch@hollins.edu. Application materials should be submitted in a single PDF file, not to exceed 25 MB. Review of applications will begin July 1, 2019, and will continue until the position is filled. Final candidates will be subject to a criminal history background check.

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

Historians have examined copying through the lens of copyright, piracy, and plagiarism. But those terms do not apply well to printed images because copying was part and parcel of artistic training; it could also stimulate creativity via, for example, technical or iconographic innovations. Engraved or etched images were constantly re-used. In practice, a publisher’s heirs may recycle and alter the copper-plates from the shop; artists may freely reproduce or transfer an impression onto a new plate, changing it as they pleased; or only sections may be copied. Original names (authors or sellers) disappeared and new signatures, if any, were inserted. When a composition was repeated with modifications over decades or centuries, a series emerged. Engravings and etchings of conclaves, funerals, or solemn entries are a case in point. This session examines seriality, or the practice of recycling, reinterpreting, and modifying an image over a long period of time. What are the best terms to use to discuss this process? What changes in a serial iteration of prints over time? How did viewers approach familiar-looking pictures? Who produced, sold, or bought them?

We welcome papers that tackle the meanings of iconographic reproduction in the longue durée, including questions of appropriation (a term that remains to be defined), rhythm (temporal aspects), manipulation, and geography (making/distribution).

Chair: Evelyn Lincoln (Brown University)
Organizer: Pascale Rihouet, (RISD)

By August 1, 2019, please send an abstract (ca. 150 words) and a brief CV to: prihouet@risd.edu

Please visit the 'External Link' below for more information. Note: a current RSA membership will be required to enter the submission website.

The purpose of this session is to investigate the topographies, geographies, and spaces of the early modern page. Early modern printers were mapmakers of sorts; from books to broadsides, their design choices influence ways that readers travel across the page. The topography of the page appears on a micro-level: grooves of type bite into soft fibers of the paper, creating indentations and leaving ink marks. Impressed lines of woodcuts create micro-hills and valleys on the page. On a macro level, the verbal text, images, printer’s flowers, lines, white space, varying typography, and lines of type to guide the reader through the text.

Readers are mapmakers as well, making turns and leaving traces as they traverse lines of type and printed material. Readers make marks on their journeys through the text, leaving traces of physical presence and ideas on the pages.

We invite papers on the subject of mise-en-page, graphic design, reader interaction, and failed or flourishing layouts on the page. We welcome papers on early modern diagrams, illustrations, decorative printing, moving parts of the page (volvelles, flaps, etc), marginalia and marks of use that predict or mark the reader’s journey as a reader and user of the page.

Chair: Deborah Solomon (Auburn University)

Submissions from all disciplines are welcome. Please submit your paper proposal no later than 31 July, 2019, to Deborah Solomon (dsolomon@auburn.edu). Each proposal must include the following:
-Name, university affiliation (if applicable), email address
-Paper Title
-Abstract (250-word maximum)
-3 Keywords
-A very brief curriculum vitae (150-word maximum)

Please visit the 'External Link' below for more information. Note: a current RSA membership will be required to enter the submission website.

The illustrated album amicorum (album of friends) is a singular visual example of early-modern travelers’ fascination with swiftly-changing fashions, regional customs, family lineage, and mercantile exchange. The coexistence of drawings, prints, emblems, icons, costume plates, verses, mottoes and autographs on its pages attest to the fluidity of the genre. Brightly-colored, hand-painted miniatures in watercolor and gouache decorate university students and pre-Grand Tour travelers’ albums. They register the importance of textiles, dyes, and luxurious accessories in the ever-expanding world economy of mid to late-sixteenth century Europe while reflecting simultaneously on philosophical questions about scientific advancements, friendship and the meaning of an education. They also speak to the evolution of cultural tourism in northern Europe and Italy; major changes in fashionable and luxurious clothing; social hierarchies and gender differences; and behaviors and customs associated with work and entertainment, modes of transportation, festivals, games, education, and civic rituals. It is an extraordinary resource for charting fashion changes and for understanding how groups and individuals from specific cities and regions personalized their dress. Since travelers and students decorated and customized their albums on nearly a yearly basis, they provide detailed information about the evolution of fashion from the last decades of the sixteenth through to the beginning of the seventeenth century. This panel invites papers that will broaden our understanding about the multiple and varied uses of the illustrated album amicorum during the early-modern period.

Chair: Margaret Rosenthal, University of Southern California (Dept. of French and Italian)

Please submit a short abstract (200 words max.) and brief CV (one page) by August 1, 2019 to Prof. Margaret Rosenthal at mrosenth@usc.edu.

-Name, affiliation (if applicable), and PhD completion date (past or expected)
-CV (if presenter is a graduate student, it must include the dissertation title and date of expected completion)
-Paper title and abstract (abstract should be limited to 200 words)
-AV requirements
-4-5 keywords

Note: Presenters must (per RSA rules) be within two years of completing their PhD (and present on their dissertation) or have a completed PhD.

Please visit the 'External Link' below for more information. Note: a current RSA membership will be required to enter the submission website.

During the early modern period, notions of flying, floating, or elevation appear in natural philosophy and literature as well as the mechanical and visual arts, and are generally connected to ideas of mobility, gravity/weightlessness or the magical and mystical. To broaden our understanding of such concepts, this panel aims to investigate how early modern artists conveyed elevation in art works that are not primarily connected to vivid applications of color (i. e. print) or whose materialities emphasize the presence of gravity (i. e. sculpture). In what ways were artists able to manipulate the characteristics of certain materials in order to elevate their representations? Do such visual representations of mobility connect to or even compensate for ideas of portability and mobility of the artworks themselves?

In order to approach the topic, we are looking for proposals which deal with the representation of flying in print or sculpture in the early modern period. Topics may range from iconography to materiality, natural philosophy and the history of science or theoretical approaches which concentrate on the depiction of elevation – either literally, e. g. its inventio or figures in the act of flying, or as an abstract concept which may also include the application of aerial perspectives.

If interested, please send the title of your presentation (15 words maximum), an abstract (150 words maximum), a CV (max. 5 pages, including PhD completion date if applicable), and keywords to Ivo Raband (ivo.raband@uni-hamburg.de) and Mandy Richter (richter@khi.fi.it) by July 30, 2019. Submissions and presentations must be in English.

Please visit the 'External Link' below for more information. Note: a current RSA membership will be required to enter the submission website.