This position is located in the Division of Prints and Drawings (DCG), Department of Modern Prints and Drawings (DCMP), and is responsible for the Gallery's acquisition, care, study, and display of a world-class collection of works of art on on paper.

Responsibilities
Develops concepts and themes for special exhibitions and installations of permanent collections. Organizes, collaborates with other Gallery departments to organize, or coordinates exhibitions on a regular basis; initiates, selects, negotiates loans, performs research, and writes catalogues and other publications for exhibitions. Researches and selects relevant didactic photographic materials. Researches, writes, or reviews accompanying scholarly texts. Writes or consults on the preparation of brochures, leaflets, wall texts, essays, catalogue entries, films, web features, and other interpretive programs for collections and exhibitions.

Expands and deepens the Gallery collections through the acquisition of works of art of the highest quality and relevance. Closely follows the art market, maintains cooperative contacts with dealers, and cultivates close relationships with collectors, and ensures that subordinate curators do the same. In consultation with the Senior Curator, proposes discretionary purchases to the Director and Chief Curator, and major purchases in writing to the Board. Attracts single objects and collections as gifts, as well as funds for acquisitions, from private sources.

Ensures the safety, physical organization, up-to-date documentation, and reliable access to the collection of modern prints and drawings. Advises on conservation treatment. Collaborates with other division staff on housing. Performs and/or delegates scholarly work to ensure proper identification and cataloguing of works of art. Ensures timely and accurate maintenance of database entries. Sets priorities for documenting the collection. Evaluates loan requests from other institutions.

Initiates and/or oversees development of research and publishing projects. Writes, lectures, and consults on scholarly matters. Writes or reviews texts for the website, brochures, leaflets, and other Gallery publications or scholarly studies. Researches, writes, or reviews scholarly texts related to collections, acquisitions, and loans. Writes or consults on the preparation of brochures, leaflets, wall texts, essays, catalogue entries, films, web features, and other interpretive programs, and other Gallery publications or scholarly studies.

Responsible for formulating and implementing the department’s strategic plan for acquisitions, research, exhibitions, and other programs, in consultation with the Senior Curator. Manages the financial and personnel resources of the department, including acquisition funds, travel budgets, exhibition grants, and exhibition budgets. Schedules and coordinates the in-house activities of the department. Supervises associate and assistant curators as well as fellows in the department. Assigns routine and special projects, provides direction, monitors progress, and evaluates results. Writes job descriptions, performance plans, and award recommendations; conducts informal and formal performance appraisals annually. Hires new subordinate staff as vacancies occur.

Responds, or directs staff to respond, to public, scholarly and other professional inquiries. Attends professional meetings and lectures, participates in symposia. Accepts or initiates opportunities to collaborate with Gallery colleagues and counterparts in other institutions. Speaks to visiting groups and the press.

Travel Required
Occasional travel - 25% or less.

***To learn more click on the 'External Link' below.

The Rockwell Center for American Visual Studies at the Norman Rockwell Museum, Stockbridge, Massachusetts, and the D. B. Dowd Modern Graphic History Library at Washington University in St. Louis, Missouri.

BACKGROUND: This interdisciplinary conference brings together scholars from across the humanities and the arts to explore the history, context, and theory of illustration in the United States from the nineteenth century to now.

As a set of practices and a cultural force, illustration emerged in the nineteenth as a new and distinctly modern phenomenon. A vital component of the visual cultures of advertising, design, publishing, and entertainment, illustration is omnipresent in modern America. Yet its historical, contextual, and theoretical specifics—from modes of production, distribution, reception, and repetition to mandates of communication and consumption—remain relatively unexamined by scholars, art critics, and practitioners. Likewise, a taxonomy of the field—shared definitions of illustration, for example—is lacking. This symposium aims to bring together scholars and researchers across multiple fields including art history, history, visual and material culture studies, American Studies, consumer studies, book arts, childhood studies, literary criticism, media studies, and more who would like to join others in constructive conversations focused on developing the emergent field of illustration studies.

Papers on the following themes are especially encouraged:

- the ways in which technological innovations shaped the practice and look of illustration from the nineteenth century to now
- the complementary nature of reading and looking in nineteenth century illustration
- image/text relationships
- how illustration shaped practices of looking in mass media
- how and why illustrations came to shape and define ideas about class, race, gender, and ethnicity
- the racial and gendered dimensions of illustration practice
- the interplay of illustration, design, and fine art in American visual culture
- illustrators and cultural agency
- the labor, practice, and economics of illustration, including the organizational worlds of agencies, studios, and publishers
- relationships between and frequent interdependence of the practices in illustration and photography
- how illustrators and agencies responded to intermittent historical, cultural, and technological shifts, for example the advent of television
- collecting illustration: buyers, donors, fans
- the history and role of archives, libraries, and museums in collecting, cataloguing, preserving, and exhibiting illustration
- evolving directions in contemporary illustration: technological, cultural, distributive

INSTRUCTIONS FOR SUBMISSIONS: Please email proposals for 15-20 minute papers, together with a 2-pp CV by November 1, 2018 to Jana Purdy, Norman Rockwell Museum, at: jpurdy@nrm.org

Proposals should include: name, mailing address, contact number(s), email, title of paper, and an abstract—maximum 200 words—of your paper.

NOTIFICATION OF ACCEPTED PROPOSALS: Applicants will be contacted by November 26, 2018 regarding acceptance of their proposal.

Graduate students are encouraged to apply to a special “lightning” session featuring 5-minute presentations.

Learn more via the 'External Link' below.

The CURATOR OF FINE ARTS is a motivated, highly collaborative, dynamic professional who serves as Head of the Fine Arts Department. S/he provides vision, long range planning, staff management, and collection oversight. S/he embraces CMOA’s mission to create experiences that connect people to art, ideas, and one another. Staff includes an assistant curator, occasional interns and volunteers, as well as project-specific staff.

The Curator is the primary person responsible for the presentation, loan, and development of CMOA’s collection, comprising over 9,000 paintings, sculptures, prints, drawings, and watercolors created before 1945, with notable strengths in19th and early 20th century American and European paintings and sculpture, old master prints, and over 2,500 Japanese prints.

S/he organizes/co-organizes original collection- and loan-based temporary exhibitions; identifies borrowed exhibitions for presentation at CMOA; oversees gallery rotations of the permanent collection; conducts research, interprets art works, creates visitor-centered experiences for the museum’s audiences; shapes the collection through gifts and purchases; and evaluates and assesses holdings as part of an overall collections plan, including deaccessioning. The Curator cultivates and maintains strategic relationships with regional, national, and international museum colleagues, CMOA Board, prospective donors, and affinity groups. S/he nurtures relationships and partnerships with local organizations to increase awareness of CMOA and expand its base of supporters; actively participates in fundraising and audience development efforts; as manager of the department, formulates and adheres to operating and exhibition budgets; represents the museum through lectures, juries, events, and publications, locally, nationally, and internationally.

In addition to submitting your resume online for consideration, kindly send a cover letter detailing your credentials and interest to: CaoY@cmoa.org

EDUCATION & EXPERIENCE: The position requires a Master’s Degree or PhD in art history or other relevant field, along with at least five years of progressively responsible curatorial experience in an accredited art museum. The candidate must have a track record of superior curatorial achievement in the areas of acquisitions, exhibitions, and publications in American, European, and/or Japanese art, in a variety of media, dating from the 14th through the 19th century. Area(s) of specialization should be relevant to the collection. Deep knowledge of curatorial practice and standards across collecting fields and specialties is essential.

KNOWLEDGE, SKILLS, ABILITIES:
- S/he must have strong interpersonal and problem-solving capabilities, including the ability to be an effective leader, motivator, and team member;
- Enthusiasm, creativity, and excellent oral and written communication skills are essential;
- Willingness to create experiences with collaborative, cross-departmental, visitor-centered strategies for engaging audiences is key;
- S/he must be eager to assume a role within the local community, and within the national and international art world;
- Ability to read at least one language (other than English) relevant to the collection is preferred;
- Knowledge of provenance research/documentation methods and standards is advantageous;
- Proficiency with Microsoft Office, standard business software, and basic office equipment is required;
- The Curator will be expected to gain familiarity with KEmu, CMOA’s collection’s management system.


To learn more, please click on the 'External Link' below.

The Boston Athenaeum seeksaRare Visual Materials Catalog Librarian to catalog posters from its Richard Cheek World War II Graphic Arts Collection. The poster collection addresses a wide range of issues related to all facets of the conflict both American and European. The Rare Visual Materials Catalog Librarian reports to the Chief Technical Services and will join a collegial Technical Services team.

This position is a temporary two-year contract position with benefits.

RESPONSIBILITIES -------
- Creates full descriptive MARC 21 original and complex copy cataloging of bibliographic records in OCLC Connexion following DCRM(G) standards and local practice for a variety of graphic materials related to World War II.
- Assigns appropriate access points from theName Authority File, Library of Congress Subject Headings, and form/genre terms for rare materials according to national standards and local practice.
- Advises Digital Programs with metadata for digital surrogates, when necessary.
- Meets and maintains established goals as to quantity and quality of work production.
- Performs other related and comparable duties as assigned.

QUALIFICATIONS -----
- Submit to and pass a background check, including criminal history, personal references, employment verifications and Registry of Motor Vehicles (if applicable).
- Master's degree in Library Science from an ALA-accredited library school required.
- A least three years recent experience performing original, complex cataloging required.
- Working knowledge of MARC21 coding, LC-PCC PS, OCLC Connexion and bibliographic standards, and Catalogers Desktop required.
- Ability to meet deadlines while maintaining a high quality of work required.
- Proficiency in establishing or editing LC/NACO authority file records according to NACO/RDA standards required.
- Formal training in rare visual materials strongly preferred.
- Experience using ExLibris Voyager integrated library system strongly preferred.
- Experience handling rare materials strongly preferred.
- Formal training in rare book cataloging preferred.
- Reading knowledge of a European language preferred.
- Knowledge of mid-twentieth century history desirable.
- Ability to lift 40 pounds required.
- The successful candidate will have the ability to carry out detailed procedures with accuracy under minimal supervision and to work collegially with other staff members.

HOW TO APPLY
Please send a cover letter and resume, including current availability, to hrtechnicalservices@bostonathenaeum.org.

*The Boston Athenæum is an equal opportunity employer. We encourage individuals of diverse backgrounds to apply and are committed to hiring individuals who value a diverse and inclusive work environment. Retirees encouraged to apply.

The musée des Arts décoratifs in Paris offers a 18-month Curatorial Fellowship, from January 2019 to June 2020, supported by the Getty Foundation as part of The Paper Project: Prints and Drawings Curatorship in the 21st Century.

The purpose of the fellowship is to provide an opportunity to a young scholar looking to become a curator of works on paper to be trained under the curator responsible for the collection in all the aspects of the profession, with the aim of acquiring skills and autonomy in the field. The planned training programme involves inventorying part of the collection, researching attributions and bibliographic information, organizing seminars, hosting scholars, following up loan files and the restoration of works. It would also include making a personal contribution to the planned exhibition and publication on the department’s collections (MAD, March-June 2020).


Desired qualifications of the fellow

A post-graduate qualification (Master 2 level for European students) in history of art, preferably relating to works on paper;
Full Professional fluency in French;
Fluency in English;
Good interpersonal skills and ability to work as part of a team
Documents (PDF) to send, through wetransfer, to Bénédicte Gady (benedicte.gady@madparis.fr) and Sophie Malville (sophie.malville@madparis.fr)

CV (two pages max.)
Letter of motivation (one page max, in French)
University thesis
Publications (5 max.)
Letter of support by the Research Supervisor
Letter of support by the Supervisor of a former internship or Employer
Applications must be in French and submitted by Wednesday 31 October 2018.
The preselection will be announced to the elected candidates on Friday 30 November 2018.

Interviews are scheduled to take place at the Musée des Arts décoratifs Paris on Monday December 10th 2018. No travel expenses will be reimbursed. Interviews may be arranged by Skype.

The Fondation Custodia and the RKD have a vacant position from the 1st of January 2019 for an enthusiastic JACOBA LUGT-KLEVER FELLOW (m/f)
36 hours per week

The fellowship is available for an experienced art historian (m/f), with a demonstrable specialisation in ‘art on paper’. The fellowship will either enable you to support your own ongoing research, or to start a new research affiliated to one of the ongoing research projects within the Fondation Custodia and/or the RKD. Location is The Hague. The Jacoba Lugt-Klever Fellow is required to submit a publishable academic text after the fellowship has been completed.

The research is to be related to the main collection areas of the Fondation Custodia / Frits Lugt Collection, namely that of European drawings and prints (‘art on paper’), illustrated books from the sixteenth till late nineteenth centuries, plein air oil paintings and autographs.

Profile
You have carried out recent intensive research into art on paper. You appreciate the value of the Jacoba Lugt-Klever Fellow for the field of knowledge in general and for the Fondation Custodia and the RKD in particular.
- Knowledge and education at academic level;
- Knowledge and experience with carrying out art historical research into works on paper;
- Knowledge and experience with (museum) collections;
- Good communication skills and a pleasant writing style;
- Shows enthousiasm for working for the Fondation Custodia and the RKD.

We offer
A challenging research position in an inspiring environment. The salary indication is scale 9/10 (Dutch Museum collective labour agreement), depending on knowledge and experience. A contribution towards material and travel costs incurred for the research is also offered. The position is temporary for the duration of a maximum of two years.

Applications can be submitted up to and including the 30th of October 2018 with an accompanying motivational letter, a research proposal (max. 1500 words) and CV, to pz@rkd.nl stating Vacature Jacoba Lugt-Klever Fellow. Further information on the position is available from Ger Luijten, Director Fondation Custodia, or Dr. Yvonne Bleyerveld, Senior Curator Drawings and Prints, RKD. The first round of interviews will be held at the end of November 2018.

The Department of Art & Design of the Mason Gross School of the Arts, Rutgers University invites applications for a full-time tenure-track Assistant Professor in Expanded Print. The candidate should have an interdisciplinary practice in expanded print, which include animation, installation, media, drawing, producing multiples, or photography along with print. The candidate should also have a demonstrated commitment to teaching, the potential for academic leadership, and the ability to work well in an interdisciplinary arts environment. The candidate should be active in his or her field, with a significant record of professional achievement, a broad knowledge of contemporary art and print, and an interest in developing cross-disciplinary curriculum within a large, diverse, public research university.

The Department of Art & Design offers a full complement of printmaking media, including etching, relief, silkscreen, lithography, letterpress, papermaking and artists books, as well as photography, media, sculpture, drawing, painting and design.

Duties:

Responsibilities include teaching undergraduate and graduate studio and seminar classes at all levels; developing the print curriculum; assisting in student recruitment; mentoring graduate teaching assistants; serving on departmental and university committees; and maintaining professional artistic activity and/or scholarly research.

Qualifications:

MFA in Art or equivalent
National and/or international profile
Minimum of three years teaching experience in teaching Print and expanded print practices at the university level
Extensive knowledge of various print media and other disciplines
Knowledge of contemporary art theory and art history


Starting Date: July 2019

Application Deadline: November 1, 2018 (Applications will be received and reviewed until position is filled)


Applications must include the following:

- Cover letter
- Teaching philosophy
- Curriculum vitae
- Contact info for three references
- Course syllabi
- Current work
- Student work

Scripps College, a women's liberal arts college with a strong interdisciplinary tradition, invites applications for a full-time tenure-track position in Book Arts and Director of the Scripps College Press. The position is four courses, senior thesis reading and directing the Scripps College Press.

Courses to be taught will include Typography, Book Arts, a theory seminar, and directing senior theses. In some years, teaching one course in the College’s Core Curriculum in Interdisciplinary Humanities will replace an advanced level course.

The Director of the Scripps College Press plans and oversees the activities of the Press, including publishing and disseminating the students’ books, organizing the Frederic W. Goudy Lecture Series, coordinating exhibits and publicizing the activities of the Press.

The successful candidate will have a broad knowledge of contemporary book arts, college teaching experience, and an MFA or Ph.D. with specialization in Book Arts with an emphasis on book production, typesetting with metal type, and edition bookbinding.

Participation in the Core Curriculum in Interdisciplinary Humanities program is expected. Preference will be given to applicants with a commitment to the College’s goal of improving higher education for underrepresented students.

Scripps College is one of seven members of The Claremont Colleges Consortium located 35 miles east of Los Angeles. In a continuing effort to build a diverse academic community and to provide equal educational and employment opportunities, Scripps College actively encourages applications from women and members of historically under-represented groups.

Applicants should submit a curriculum vitae, letter of application, samples of past syllabi, evidence of excellence in teaching (e.g. course evaluations), URL links to your own portfolio and your students’ work, writing sample, and a list of three references to 'External Link' below.

Series editors: Bret Rothstein (Chair), Indiana University, Bloomington; Alessandro Arcangeli, Università di Verona; and Christina Normore, Northwestern University

Publisher: Amsterdam University Press

'Cultures of Play, 1300–1700' provides a forum for investigating the full scope of medieval and early modern play, from toys and games to dramatic performances, from etiquette manuals and literary texts to bulls and tractates, from jousting to duels, and from education to early scientific investigation. Inspired by the foundational work of Johan Huizinga as well as later contributions by Roger Caillois, Eugen Fink, and Bernard Suits, this series publishes monographs and essay collections that address the ludic aspects of premodern life.

The accent of this series falls on cultural practices that have thus far eluded traditional disciplinary models. Our goal is to make legible modes of thought and action that until recently seemed untraceable, thereby shaping the growing scholarly discourses on playfulness both past and present.

For more information, please click on the 'External Link' below.

Please contact Erika Gaffney, egaffney@aup.nl, with any questions, or to submit a proposal.

In this workshop at the Harvard Art Museums, participants will explore Théodore Géricault’s use of lithography with Christina Taylor, printmaker and assistant paper conservator, and Cassandra Albinson, the Margaret S. Winthrop Curator of European Art. Following an introduction to traditional and alternative lithographic processes and a close look at Géricault’s rare, surviving “stone paper” print matrix in the galleries, the group will engage in a discussion about the benefits and drawbacks of this experimental technique and about Géricault’s commitment to artistic innovation. Workshop attendees will then join Taylor in the Materials Lab to create their own prints using an alternative lithographic process.

This workshop will take place in the Materials Lab, Lower Level.

$15 materials fee. Registration is required and space is limited. Materials fee must be paid to confirm registration. Please email am_register@harvard.edu, stop by the museums’ admissions desk, or call 617-495-1440 to register. Minimum age of 14.