The Lower East Side Printshop is the largest openly accessible printmaking studio in New York City. Interns are involved in all aspects of maintaining a vibrant non-profit workshop. Programs include artist residencies, fine art publishing, classes, exhibitions, lectures, and artists’ talks. Participating artists are of all creative backgrounds and career stages, including some of today’s most acclaimed artists.



The Printshop’s internships offer opportunities to learn and hone printmaking skills, gain collaborating experience, meet exciting artists and art professionals, learn about contemporary art, get an insider’s perspective on the New York City contemporary art community, and help produce new artwork that often pushes the boundaries of traditional printmaking.



Internships are available throughout the year. Interns are expected to have some working knowledge of printmaking, or a demonstrable interest. Regular attendance and a commitment to the program are required.



Duties include:
• Assisting the master printers with new print projects
• Preparing and organizing materials for classes and other programs in the studio
• Assisting staff with presenting public exhibitions, lectures, and other special events
• Maintaining the studios and facilities
• Light administrative tasks and data entry

Internships are unpaid, but students can receive school credit or free studio time in exchange for their donated time. Free studio time equals the amount of volunteering time, and is available Monday – Friday, 10am – 6pm, Saturday and Sunday 12 noon - 6pm.

Requirements:
• Basic skills or a demonstrable interest in printmaking and contemporary art.
• Regular attendance and commitment to the program.

Hours: Spring Semester (January – May): two days per week, Monday – Friday, 10am-6pm. Consecutive days are preferred, however we are willing to work around scheduling conflicts.

Application Requirements:
• Current resume of work experience
• Letter of intent explaining why an internship at LESP is important to you and what experience you would bring to the position. Also state which weekdays you might be available to work (consecutive days are preferred).
• One letter of reference

Create! Magazine is pleased to announce an open call for the Winter 2019 International Print Issue.

About Our Guest Curator ---------
Margaret Winslow, Curator of Contemporary Art, Delaware Art Museum, currently lives and works in Wilmington, Delaware where she is the Curator of Contemporary Art at the Delaware Art Museum.

Helping fellow artists is our passion. Our goal is to create a welcoming community through our print issues and online galleries. Aside from releasing our bimonthly editions, we promote artists on our website, social media and connect them to opportunities and gallery exhibitions. Each beautifully crafted edition features inspiring interviews, perspectives, and advice from the top creative professionals. We dedicate a significant portion of the publication to an array of artists selected by guest curators through our calls for art and contests.

We are passionate about providing opportunities for emerging and mid-career artists. Each issue is filled with vibrant contemporary art, craft, design, and inspiring stories of the makers behind it.

Create! Magazine has been featured by The Jealous Curator, Art Miami Fairs, Apartment Therapy and more.

Available in select bookstores internationally.

WHERE TO FIND: Copies will be available in our online shop and at several global retail locations in London, New York, Amsterdam, Stockholm, Philadelphia, Wilmington (DE), and more.

ELIGIBILITY: Artists 18 and older are welcome to apply with works in any medium: painting, sculpture, digital, printmaking, fiber, photography, mixed media, installation and more. Artists from all countries are welcome to submit.

SELECTED ARTISTS: Artists selected by the guest juror will receive a 2-page spread including a brief bio, website, and 2 images in print and digital formats. Published artists will receive a complimentary digital issue and will be listed with images, details and information on our website/social media for life. All featured artists will automatically be considered for any upcoming curatorial projects and exhibitions organized by our team.

The Department of Art in the College of Visual and Performing Arts at Belmont University is seeking applications for a tenure-track faculty position at the rank of Assistant Professor, beginning in August, 2019. The College of Visual and Performing Arts at Belmont University is a vibrant creative community serving undergraduate and graduate students by providing nationally recognized, accredited programs in Art, Design, Music, Theatre, and Dance. Engaged faculty mentors along with world-class performances, vibrant art and design opportunities, dynamic teaching, and study abroad opportunities combine to provide a 21st century path for student excellence, artistry and creativity in an inclusive student-centered, Christian environment.

The primary job responsibilities for this position include teaching at all levels of undergraduate Printmaking and/or Drawing, Advanced Studio and 2D courses, and leading the development of the Printmaking curriculum. A commitment to teaching content to support the department’s design and studio programs at the Foundations level is expected. The candidate must also have a demonstrated interest in a broad range of contemporary and traditional printmaking and studio arts media, methods, and concepts. Related experience with the socially-engaged practice of art in the community is highly desirable. An annual teaching load would include six studio courses or a combination of studio and lecture courses equaling 24 teaching workload hour. Additional primary responsibilities include a) academic advising and mentoring students, b) maintaining scholarly/creative activities, and c) performing department, college and university service.

An MFA in an appropriate printmaking/studio arts area is required. Two to three years of teaching experience beyond a graduate school Teaching Assistantship is strongly preferred.

For additional information about the position and to complete the online application, candidates should click on the 'External Link' below. An electronic version of a Cover Letter, Curriculum Vitae, Teaching Philosophy, and a Response to Belmont’s Mission, Vision, and Values statement articulating how the candidate’s knowledge, experience, and beliefs have prepared him/her to contribute to a Christian community of learning and service must be included.

To complete the online application, candidates must also upload a portfolio of personal artwork (10-15 selections), an artist’s statement, and a portfolio of student artwork with project descriptions (10-15 selections). Preferences will be given to applications received by November 12, 2018. Review of applications will begin immediately and continue until the position is filled.

Ranked number 5 in the Regional Universities South category and named as a "Most Innovative" university by U.S. News & World Report, Belmont University consists of more than 8,000 students who come from every state and more than 25 countries. Committed to being a leader among teaching universities, Belmont brings together the best of liberal arts and professional education in a Christian community of learning and service. The University's purpose is to help students explore their passions and develop their talents to meet the world's needs. With more than 90 areas of undergraduate study, 22 master's programs and five doctoral degrees, there is no limit to the ways Belmont University can expand an individual's horizon.

The Ithaca College Department of Art (located in Ithaca, NY) invites applications for a full-time, tenure track Assistant Professor of Printmaking teaching position to begin August 16, 2019. The position will include teaching all areas of printmaking including: intaglio, relief, lithography, silkscreen, digital printmaking and book arts. Other responsibilities include mentoring BFA senior projects and independent studies, advising art majors and minors and participation in service to the department, college and community. In addition, it is expected that the successful candidate will maintain the printmaking studios and equipment. Ithaca College has a strong focus on teaching effectiveness in the studio. In addition, professional activity and personal studio practice is expected.

Degree Requirements:
MFA required with extensive printmaking knowledge. Ideal candidates will have at least three years full time teaching experience. Finalists will be expected to provide one full year of teaching evaluations.

Ithaca College is committed to building a diverse academic community and encourages members of underrepresented groups to apply. Experience that contributes to the diversity of the college is appreciated.

Screening of applications will begin immediately. For full consideration, applications must be received by January 1, 2019.

For a full description and to apply please click on the 'External Link' below.

The successful candidate would oversee the printmaking areas of the Ithaca College Art Department. The merging of traditional and contemporary approaches desired. Teaching expertise in intaglio, relief, lithography, silkscreen, digital printmaking and book arts is required. Knowledge of contemporary issues in printmaking as evidenced through personal work, student work and teaching philosophy is required. Knowledge of digital software including Adobe Photoshop, InDesign and Illustrator is required. We prefer candidates who are familiar with non-traditional, experimental and conceptual approaches to printmaking. Familiarity with alternative photo-based processes is also preferred. Successful candidates that demonstrate the ability to work with individuals of varying learning abilities, marginalized or under represented populations with a commitment to the success of all students is strongly desired.

Interested applicants must apply online at http://ithaca.edu/jobs/ and attach the following:
1. Cover letter
2. Curriculum Vitae
3. Statement of teaching philosophy
4. Portfolio: 20 images of recent personal work with artist statement (within last five years) and 20 images of recent student work (with brief project descriptions). Submit via a pdf or link to Google doc. or similar platform.
5. Sample syllabi: one introductory, one intermediate or advanced level.
6. Three references related to teaching experience with full contact information.

Leslie Hindman Auctioneers, one of the nation's leading and fastest growing fine art auction houses, is looking to add an Account Executive/Cataloguer, Fine Books and Manuscripts in our Chicago office. The primary focus of the Account Executive/Cataloguer is to function as the liaison between the consignor and the Specialist as well as assist the Specialist in maintaining classification and labeling of all property in-house according to departmental cataloging standards. The Account Executive/Cataloguer coordinates authentication and restoration, and acts as liaison with account executives and regional offices.

Key Responsibilities:
Attend non-estate tax appraisal appointments with the departmental Director and assists in generating listings and appraisals for said appointments
Meet with in-house appointments and walk-ins
Respond to online inquiries upon the delegation of Head Specialist or Director
Provide estimates to potentials coordinator for online inquiries and assist in creating proposals
Inspect and coordinate with departments regarding in-coming property and catalogue properly
Coordinate the authentication and restoration process
Maintain cataloguing standards and oversee edits with Director

Successful candidates will possess:
Bachelor's degree in Art or related field preferred
Minimum 3-5 years of administrative or customer service work experience, preferably in the art field
Superior client service skills and a strong sense of professionalism and discretion
Excellent communication and interpersonal skills
Proficiency in MS Office applications
Strong follow-up skills and attention to detail
Excellent writing and proofreading skills

Apply via the 'External Link' below.

STUDIO IMMERSION PROJECT FELLOWSHIP (SIP)
NEXT SUMMER SESSION: JUNE 3 - AUGUST 30, 2019

ACCEPTING APPLICATIONS STARTING OCTOBER 1st
DEADLINE: MONDAY, DECEMBER 17, 2018 11:59PM EST

Studio Immersion Project (SIP) is an intensive 3 month studio fellowship designed to immerse artists in the world of printmaking. SIP Fellows will acquire new techniques and build upon existing skills. Artists, from all media, interested in making printmaking a regular part of their creative practice are invited to apply.

APPLICANTS DO NOT NEED PRIOR PRINTMAKING EXPERIENCE.

SIP Award Description
1 year EFA RBPMW membership
3 months unlimited EFA RBPMW studio access
Monthly stipend
Materials stipend

6 session SIP Orientation Program Includes:
In depth studio orientation, basic intaglio, lithography, screenprinting, relief and monotype techniques.
3 EFA RBPMW classes picked from Summer Class Schedule
Group exhibition in 20|20 Gallery the summer after fellowship year
Scheduled project consultation with EFA RBPMW staff printers
3 month material & supply storage
Access to exhibition and portfolio exchange opportunities through EFA RBPMW membership

Visual artists in all media and all styles are encouraged to apply for residencies of two weeks to one month on on the pastoral grounds of Weir Farm National Historic Site. The Weir Farm Art Center’s program provides living and studio space for one artist at a time, although two artists working collaboratively may reside together. The residence is located in a charming 1,100 sq. ft. historic cottage, built in the mid 1800s and located on the Weir Farm site. A large, modern studio just a few steps from the residence is equipped with a professional easel, several large and small tables, and a variety of hand tools. Printmakers may rent off- site facilities through an affiliation with the Center for Contemporary Printmaking in Norwalk, CT. The cottage is comfortably furnished with linens, wired and wireless internet, and a fully equipped kitchen. Having a car is extremely helpful although it is not a necessity.

Thirteenth International Conference of Iconographic Studies
"Afterlife of Antiquity - Case Studies and New Perspectives in Iconology"

The concept of Antiquity and its afterlife, largely introduced by Aby Warburg to art historical research, has had a profound influence on generations of scholarship. The paradigm continues to spark dialogue among today’s scholars of art history as well as many other disciplines, including history, anthropology, literature, theory of art and others. This colloquium will consider the afterlife of Antiquity as form of memory as well as the use of classical models in their morphological significance. Scholars are invited to present proposals on topics relating to the continuity and discontinuity of the use of classical tradition in history of art (mythology, historical themes, literature), and use and reuse of the ancient models within the specific historical contexts. Our intention is to reflect upon subjects and problems in reference to the classical western art as well as to comparative approaches to other cultures.

Academic papers that will approach these subjects from interdisciplinary and methodologically diverse angles are welcome. The themes and subjects include:
- survival/afterlife of classical mythology in Middle Ages, Renaissance, Baroque and Modern art
- survival/afterlife of Roman legends and history in Middle Ages, Renaissance, Baroque and Modern art
- Antiquity of the "Others" (in time and space) in an anthropological perspective
- continuity, discontinuity and ruptures of classical tradition in history of art
- case-studies of the use of topoi, schemata, Pathosformeln, and gestures in history of art
- reproductive and productive reception: copy, citation, variation, assimilation, and interpretation of the classical models
- re-contextualization – use of spolia
- classical motifs in contemporary art: use, reuse, and renewal
- memory of Antiquity as art-historiographical problem


Proposals should contain:
- full name, institution, affiliation, address, phone number(s), e-mail address
- title
- abstract (maximum 2 pages – 500 words)

Paper proposals should be submitted electronically to cis@ffri.hr BY JANUARY 15, 2019.
Invitations to participate will be sent out by email before February 15, 2019

There is NO registration fee

Administration and organizational costs, working materials, lunch and coffee breaks during conference, closing dinner as well as all organized visits are covered by the organizers.

All presented papers will be published in the thematic issue of the IKON journal in May 2020.

Editors: Liesbeth Minnaard and Kea Wienand

The recent rise in migratory movements to the European Global North and the simultaneous increase in attempts to forestall this immigration has resulted in numerous images and narratives that try to capture and mediate the happenings at Europe’s borders. Many of these representations render the actors involved in these migratory movements suspect, and present those happenings as beyond our control. At the same time, however, representations of flight and illegalized migration have been accompanied by discussions about their appropriateness, their moral justifiability and the diverse ways in which they are being mobilized. Part of these discussions, that not only take place in the fields of art and literature, but also in popular culture and public media, is the search for more ‘critical’ approaches to the topic; a call for new grammars and alternative imaginaries that avoid the criminalizing discourse on terrorism and threat, and that escape the pitfalls of the “overarching trope of victimhood.” The question at stake in this issue of FKW is what counts as critical in our current situation? What does a critical position actually entail in a Europe that emphatically stages itself as ‘in crisis’ and as at loss with its identity?

Chantal Mouffe states that “critical art is art that foments dissensus, that makes visible what the dominant consensus tends to obscure and obliterate.”(2) But what does this mean in a time in which claims of crisis and states of exception determine the dominant consensus, and the ideas that ‘we need to stop this’ and that ‘there is no alternative’ are primarily explained in terms of drawing lines and closing borders. In a time in which a supposedly feminist agenda is invoked in order to legitimate acts of hostility and violence against ‘others’ or to install and justify mechanisms of exclusion? And in a time in which the use of adjectives such as fake and bogus result in a broadly felt sense of distrust? We, as editors of this special issue of FKW, believe that it is of the utmost importance to intervene in such debates about defending Europe and protecting an (ill-defined) European identity and to reflect, from a gender-critical, cultural-analytical point of view, on what it means (or should mean) to be critical about suchlike discourses and practices.

We therefore invite contributions that discuss thought-provoking perspectives and possible answers and alternatives in the fields of art, literature, theatre and performance, but also in the broader fields of popular culture and political activism; contributions that ponder on the question what it means to be critical in these various fields of cultural production, and critical in respect of what (and what not)? What are the – ideological, material, moral – effects of critical artistic positions? And can critical artistic interventions actually bring about a broader shift in people’s thoughts and attitudes towards these migratory processes, or is the current topicality of the refugee crisis in art and literature simply profitable, as was suggested in regard to the various works on the refugee crisis by Ai Weiwei?

The 67th issue of FKW aims to address suchlike questions and to explore both the possibilities and the limits of artistic forms of critique on Europe’s migration politics. We welcome contributions that address the above-mentioned questions as well as related issues, either on a more philosophical/theoretical level or by discussing specific case studies from the fields of art, literature, performance, activism and popular culture.

This issue of FKW will be bilingual: contributions can be written either in German or English. Please send an abstract (in English or German, 250 words maximum) and a short CV to the issue editors, Liesbeth Minnaard (e.minnaard@hum.leidenuniv.nl) and Kea Wienand (kea.wienand@uni-oldenburg.de), who can also be contacted in case of questions.

“Arts, Power, and Politics”: Second Spring Academy for Young Chinese Art Historians at the German Center for Art History Paris

The German Center for Art History in Paris welcomes applications from junior scholars and doctoral students from Greater China for a spring seminar titled “Arts, Power, and Politics,” which will focus on French 17th- to 20th-century art. The seminar will take place from May 13th to May 31th, 2019 in Paris at the German Center for Art History and at several museums and research institutes in the French capital and its surroundings. Participants will receive funding for transportation, lodging, and meals.

Scholars interested in participating are invited to attend a one-day introduction to the program on March 21th, 2019, at the Central Academy of Fine Arts in Beijing, China. Limited funding is available for prospective participants who attend the Beijing meeting. Attendance at the introductory meeting in Beijing is not required for admission into the seminar, but is strongly encouraged.

The seminar is possible thanks to generous support from the Getty Foundation through its Connecting Art Histories initiative.

Political systems have made use of art over the centuries. France and its capital city, in particular, offer excellent visual material of this. French politics has been reflected in various artistic genres and media. Regardless of whether it was an absolutist form of government, a revolutionary system, an empire, or a republic — art repeatedly played a central role in national representation. Painting, printmaking, tapestry, decorative arts, architecture, urban planning, landscape architecture, celebrations, ephemeral decorations, and mass events were strategically employed to make a ruler’s or a government’s claim to power tangible. All kinds of tactics were developed to display political concepts and legitimize them: the heroizing of a person, particularly the ruler; the glorification of individual, mainly war-related, events; the visualization of power and hierarchies in the structure of a city; the mobilization of the population via parades, celebrations, or demonstrations. In examining visualization strategies, aspects of reception must also be taken into account, such as the question of audience, accessibility, and the position of the arts in the social fabric of the country.

The academy will take a look at the time from Henry IV to François Mitterrand. It was Henry IV who first practiced a concept of art politics which was not only addressed to the court but to a wider, general public. Further focuses will be the era of Louis XIV, the French Revolution, the Napoleon Empire and the July Monarchy, the Second Empire and the government of François Mitterand at the end of the 20th century.

The academic content of the program will be presented through lectures and discussions held at the German Center for Art History and through visits to museums, where original works of art will be examined and discussed. Additional site visits will include guided walks through Paris designed to help to contextualize art politics within the city itself. The seminar will include special visits to such museums as the Musée du Louvre, the Musée d’Orsay, and the Pavillon de l’Arsenal and to the castles of Versailles and Vaux-le-Vicomte. These trips will be guided by specialist scholars and curators.
The seminar’s co-directors are Thomas Kirchner (Director of the German Center for Art History in Paris) and Sophie Goetzmann (rechercher at the German Center for Art History in Paris). They are assisted by Thierry Laugée as senior mentor for the nineteenth and early twentieth century (Université Paris Sorbonne, Paris IV) and Valérie Bussmann, a specialist of the art politics of François Mitterand.

The seminar aims to facilitate dialogue between participants, lecturers, museum curators and members of the German Center for Art History in Paris and to enrich and strengthen study of French Ar