ize rewards a confirmed artist, of any nationality, for their printmaking, which uses the techniques of intaglio, woodcut, lithography, silkscreen and/or monotype.

The annual prize, worth $40,000 (USD), is awarded under the cupola of the Institut de France during the Solemn Session of the Académie des Beaux-Arts.

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

ich extends from the invention of printing to modern first editions. Subject strengths include incunables, fine bindings and printing, illustrated books, children’s books, association copies, and notable publications of major authors in England, France, and America. Among the highlights are three Gutenberg Bibles, a remarkable run of Aldines, Grolier bindings, French book illustration 1700 to 1914, World War I poetry, Man Booker Prize fiction, and the Carter Burden collection of American literature.

The Astor Curator will conceive, initiate, and execute exhibitions and projects, including sophisticated and compelling exhibitions from the Morgan’s own holdings, exhibitions based primarily on loans from other institutions, and traveling exhibitions. The Astor Curator will be responsible for overseeing the long-term growth, preservation, and documentation of the collection and for supporting the work of outside researchers, and will be an advocate for the collection and the mission of the Morgan, building understanding of the collection through new scholarship, public programs, publications, and digital projects.

The Astor Curator will be a dynamic leader in the field, known and well-regarded among peers, who is comfortable and happy participating in activities on- and off-site related to the rare-book world. They will be able to move easily between scholarly work and engagement with the Morgan’s various communities. The Printed Books and Bindings department has a sizable acquisitions budget and candidates should be expert in developing collections and comfortable making strategic acquisitions through both purchases and gifts.

Candidates must have excellent donor-cultivation skills and be eager to forge strong relationships with collectors and donors, and to serve as liaison to the department’s Visiting Committee. The ideal candidate will be an articulate ambassador for the Morgan in the scholarly community and with donors and the general public.

The position oversees a staff of two associate curators.

Please visit the 'External Link' below for more information, including desired qualifications and the link to apply.

epartment’s study room, while participating in all aspects of the department’s curatorial work, including proposing and executing exhibitions relevant to the collection. They will conduct research related to new acquisitions; interact with scholars, students, and the public to answer questions about the Museum’s Prints, Drawings, and Photographs collections; and deliver presentations on the collection. The successful candidate will recognize and value diversity as a central to excellence.

Essential Functions
-Supervise the department’s active study room, and act as the primary liaison between the department and faculty teaching from the collections, including making regular presentations to classes. Direct student employees and interns. With an inclusive lens, work with the two department curators to encourage greater use of the collection by RISD, Brown University, and area colleges’ faculty and students.

-Conduct research to accurately catalog the collection especially keeping up with new acquisitions, answer queries about the collection, and interact with scholars, students, and the public on collection matters.

-Become familiar with the collection’s more than 32,000 works on paper and undertake research in area of expertise to produce an exhibition to be presented in the third year, preferably in collaboration with a faculty member from Brown and/or RISD, with the possibility of developing a smaller collection-based exhibition earlier in the fellowship. At the request and under the direction of the Assistant/Associate Curator and Chief Curator, participate in processes related to departmental rotations of works on paper and exhibitions by engaging in the selection of works to put on view and writing accompanying gallery labels.

-Oversee use of and access to the departmental storage area and ensure the special care, housing, security, and proper handling of collections. At the request of the curator, serve as a courier for the Museum.

-Give presentations to docents, the general public, and other museum constituents on the collection and exhibitions.

-Travel with the department’s curators to explore potential acquisitions and to attend scholarly conferences and relevant exhibitions.


Knowledge/Skills/Experience
-Ph.D. or ABD in Art History or closely related field required.
-The Fellow should have a demonstrated interest in and knowledge of the history of prints, drawings, or photographs.
-Prior Museum and/or teaching experience preferred.
-Knowledge of a second language is highly desirable.
-Strong commitment to object-based teaching.
-Ability to handle original works of art with care.
-Excellent communication and interpersonal skills, and the ability to be a team player in an active office environment.

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

Arvada, Colorado. The number 5,280 refers to Denver’s status as the Mile High City. This exhibition seeks to celebrate the expansive diversity of contemporary printmaking found within this western region. It will fill the Arvada Center’s Main Gallery, a nearly 6,000 square foot space, and at the same time in the Arvada Center’s other two exhibition spaces, an exhibition of Print Educators of Colorado will take place, all in conjunction with Denver’s Month Of Printmaking (March 2020).

Eligible Artworks
The 528.0 Regional Juried Printmaking Exhibition 2020 aims to highlight both traditional and alternative printmaking methods being used in the field of contemporary printmaking. Submissions must utilize a form of traditional hand printed media as their primary technique but may include digital output elements within the greater work. Artwork submissions may include but are not limited to: monoprint, monotype, screen print, intaglio, photopolymer, photogravure, collagraph, stone or plate lithography, woodcut, linocut, steamroller, letterpress, and book-arts. Book-arts submissions must contain printed artworks and cannot be blank journals or inkjet-based text blocks. Any oversized steamroller prints accepted will require installation instructions provided by the artist. Installation, mixed media, video**, and audio work** will be considered if it includes the use of hand-pulled prints and is accompanied by detailed presentation/installation instructions and images within your application. Finished artworks that are composed solely of inkjet, risograph, photocopy, laser engraving, or giclée reproductions will not be accepted. For questions regarding eligible artwork, please contactgalleries@arvadacenter.org

**The Arvada Center has basic projectors, media players, and an assortment of TV screens. Please describe how best your new media work would be displayed. If you would like to provide equipment, that is also an option.

Awards
3 Cash awards will be given to Jurors Choice recipients (1 per juror). Other awards may also be given.

Please visit the 'External Link' below for more information, including the full submission guidelines and link to the application.

Department of Art. The Press is committed to furthering the art of printmaking through experimentation and collaboration, and to providing a resource for art students at the University of Wisconsin-Madison. Tandem each year collaborates with 6-8 artists of national stature to produce and distribute prints using lithography, etching, woodblock and silkscreen techniques. Artists have included Derrick Adams, Sam Gilliam, Suzanne Caporael, David Lynch, Judy Pfaff, Swoon, and Mickalene Thomas. The University has a rich tradition in printmaking and Tandem Press was created to ensure the University's continued leading role in this heritage.

Tandem prints are currently in museum collections throughout the United States such as the Whitney Museum of American Art, the Milwaukee Art Museum, the Achenbach DeYoung Museum, the Cleveland Museum, the Birmingham Museum of Art, the Tampa Museum of Art, the Metropolitan Museum of Art, The Boston Museum of Fine Arts, the British Museum, and the Chazen Museum of Art. Major corporations which have selected our work to enhance their collections include the 3M Corporation, Ameritech, Quad Graphics, Harsch Investment Properties, LLC, Hallmark, Texaco Inc., General Electric, J.P. Morgan, Promega Corporation, and Wells Fargo.

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

ense of hearing. Whether audible or silent, art, in any form, is not a “mute” medium. The question of who speaks, who is silent, and who is listening echoes within the chambers of power in any society.

How do artists throughout history visualize sound and silence? How does performance alter the experience of an object or space? How does the ephemeral nature of a melody or of a cacophony change our experiences of art and architecture over time? How does conversation or contemplation reshape our understanding of an image?

The Art History Department at Case Western Reserve University invites graduate students to submit abstracts for its 2019 Annual Symposium: Visualizing Sound & Silence in Art & Architecture. We welcome innovative research papers that engage with acoustics, music, sounds, and silence in and around art.

With keynote speaker: Vincent Debiais, L’École des Hautes Études en Sciences Sociales.

Presentations may explore aspects of this theme as it applies in any medium and from any historical period, geographical location, or methodological perspective.

Papers that engage with the art or architecture of the Cleveland Museum of Art are encouraged, but are not required.

Potential topics may include, but are not limited to:
● Depictions of sound
● Discussion of who is given a voice
● Music in art
● Liturgy & recitation
● Conversation pieces
● Internalization of drama
● Acoustics in architecture
● Silent films
● Performance art
● Sound installations
● The augmentation of other senses
● The role of labels and audio guides in museums
● Resonance with political environment

For consideration, current and recent graduate students in art history, musicology, and related disciplines are invited to submit a 350-word abstract, alongside a CV to clevelandsymposium@gmail.com by June 28, 2019. Selected participants will be notified by the end of July. Paper presentations will be 20 minutes in length.

Please direct all questions to Reed O’Mara and Rebecca Woodruff at clevelandsymposium@gmail.com. Three papers will be awarded prizes.

y argued scholarship. Research Notes typically present a concise, neatly bounded aspect of ongoing investigation, such as a new acquisition or attribution, or a specific, resonant finding from technical analysis. All texts must take works of art in the collection as the point of departure.

As of 2019, the process of peer review is double-blind. Manuscripts are reviewed by the Journal Editorial Board, composed of members of the curatorial, conserva­tion, and scientific departments, as well as scholars from the broader academic community.

Articles and Research Notes in the Journal appear both in print and online, and are accessible via MetPublications and the Journal's home page on the University of Chicago Press website.

To be considered for the following year’s volume, Metropolitan Museum Journal 55 (2020), an article must be submitted, complete including illustrations, by September 15, 2019.

Please visit the 'External Link' below for more information, including submission guidelines.

prints and 2,000 drawings by some 5,000 artists, ranging in date from the 15th century to the present. The successful applicant will build on the collection’s strengths (Northern Renaissance, Italian, French, Northern Mannerist, and 19th-century French prints; 17th and 18th-century French and Italian drawings), while exploring areas for expansion.

In late 2019, LACMA begins construction on a new building for permanent collection display. During the construction period, the collection will remain accessible to curators, and LACMA will continue to program over 100,000 square feet of gallery space across numerous locations in the greater Los Angeles area. LACMA will also maintain an active traveling exhibition and loan program during this time. This will be an outstanding opportunity for the incumbent to oversee the presentation of the Museum’s works on paper in a new physical space, and to take a lead role in giving the collection a more visible and active online presence.

RESPONSIBILITIES
-Collects, researches, and develops pre-1850 European works on paper
-Prepares exhibitions and rotations
-Reviews loan requests
-Participates in educational programming
-Mentors junior staff and/or fellows and interns
-Cultivates donors
-Performs other duties or special projects as assigned
-Maintains regular and reliable attendance

QUALIFICATIONS
-PhD/ABD in the history of art
-Full-time, professional museum experience (3 years preferred at Assistant level, 4-5 years required at Associate/Full Curator level)
-Aptitude for collaboration across Museum departments (curatorial, conservation, and other)
-Upholds the highest standards of scholarship, connoisseurship, and professional practices
-Deep knowledge in one’s field of expertise, combined with broad intellectual curiosity and interest in connecting that subject area to other time periods, cultures, etc., in an encyclopedic museum context
-Print room experience is a plus
-More senior candidates will have a proven record of exhibitions, acquisitions, and publications, relating to works on paper. Language skills should be commensurate with area of specialization; excellent written and oral communication skills are essential.

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

ent and aesthetic perspectives. The theme provides an opportunity for artists to focus on their own understandings of “contested spaces” with a variety of interpretations, styles, and techniques. Open to all forms of prints, the exhibition is presented as a celebration and examination of contemporary printmaking by artists from throughout the United States. The Harnett Biennial will be on view from October 22 to December 6, 2019, in the Joel and Lila Harnett Museum of Art, University Museums.

The juror of this year’s Harnett Biennial is Carmen Hermo, Associate Curator, Elizabeth A. Sackler Center for Feminist Art, Brooklyn Museum. She has curated the exhibition Roots of “The Dinner Party”: History in the Making, and co-curated the exhibitions Half the Picture: A Feminist Look at the Collection and Something to Say: Brooklyn Hi-Art! Machine, Deborah Kass, Kameelah Janan Rasheed, and Hank Willis Thomas. Additionally, she co-organized Marilyn Minter: Pretty/Dirty (2016-2017) and Radical Women: Latin American Art, 1960-1985 (2018). She co-curated the current exhibition Nobody Promised You Tomorrow: Art 50 Years After Stonewall, on view at the Brooklyn Museum through December 8, 2019. Previously, she was Assistant Curator for Collections at the Solomon R. Guggenheim Museum (2010-2016). She has worked with the collections of the Whitney Museum of American Art and the Museum of Modern Art. Ms. Hermo received her B.A. in Art History and English from the University of Richmond in 2007 and her M.A. in Art History at Hunter College in 2019.

The exhibition is open to all artists residing in the United States. Entries must be in the category of printmaking using any traditional and/or experimental techniques and media. Eligible entries include prints on paper using, but not limited to, such media as intaglio, relief, planographic, stencil, monotype, and digital processes (no giclée reproductions are allowed). Photographs on paper are eligible. Prints must have been completed in the last two years.

August 1, Entries due to the Harnett Museum of Art
September 5, Notifications e-mailed to artists
October 8, Works received by the Harnett Museum of Art
October 22, Talk by the juror at 6 p.m., followed by the opening reception, 7-8 p.m.
October 23 to December 6, Exhibition on view at the Harnett Museum of Art.

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

to the intense printmaking production of the 20th Century and the present, Puerto Rican graphic artists have sought cultural interaction with the world by sea and air. PUERTOGRÁFICO will showcase, through artistry, technique and dialogue, one of the strongest callings for our work: the tracing of History. Welcome aboard.

Las islas son embarcaciones ancladas al mar. Firme entre las culturas de dos continentes, Borikén —nombre original de Puerto Rico—ha sido centro de intercambio cultural durante siglos, sobre una herencia rica y compleja. De los primeros grabados en piedra, a la intensa producción de carteles del Siglo 20 al presente, los artistas gráficos puertorriqueños han procurado la interacción cultural con el mundo por cielo y por mar. En PUERTOGRÁFICO, entre la técnica, la destreza y el diálogo, compartiremos uno de los llamados principales para nuestra obra: el registro histórico. Bienvenidos a bordo.

Timeline
May 1: Abstract and Call for Participation announced
May 15: Online submission forms go live (submissions by mail accepted only for applicants in Puerto Rico)
June 15: Round 1: Event Proposals due (Inkubators, Plenary Panels, Demos, Pop-Up Exhibitions, Themed Portfolios, Mobile Events, Special Events)
July 1: Acceptances announced
July 14: Event Confirmation due (email: admin@sgcinternational.org)
July 15: Round 2: Event Participant Call goes live! (Plenary Panel participants, Themed Portfolios participants, Special Event participants). Email applications directly to Event organizers based on their specifications.
August 15: Round 2: Event Participant applications due (participants selected by Event Organizers)
September 15: Event Organizers send final list of participants to SGCI

Calendario
Mayo 1ro: Posteamos la Convocatoria de Participación en nuestra página
Mayo 15: Subimos los formularios de solicitud en línea (las propuestas generadas en Puerto Rico también se aceptarán por correo*)
Junio 15: Fase 1: Día límite a propuestas para eventos (Inkubadoras, Foros Plenarios, Demos, Exhibiciones Pop-Up, Portafolios Temáticos, Eventos Rodantes, Eventos Especiales)
Julio 1ro: Anunciamos las propuestas aceptadas
Julio 14: Fase 1: Día límite para confirmar eventos aceptados (por correo electrónico: admin@sgcinternational.org)
Julio 15: Fase 2: Posteamos la Convocatoria de Participación en Eventos (participaciones a Foros Plenarios, participaciones de Portafolio Temático, participaciones para Eventos Especiales). Cada formulario de solicitud debe enviarse por correo electrónico directamente a los organizadores de eventos en cada categoría, con la información correspondiente (indicada en cada formulario).
Agosto 15: Fase 2: Día límite para solicitudes de Participantes de Eventos (a ser seleccionados por los organizadores de cada evento)
Septiembre 15: Los organizadores de evento someten su selección a SGCI

Please visit the 'External Link' below for more information, including conference FAQs and the submission form.