make many symmetric compositions through copper Intaglio process through print folding transfer on Japanese paper and collages.

Program

Day One:

We will make intaglio plate with copper plate 30cmm x 22cm

Hard Ground line Etching with Ferric Chloride

Day Two:

Print on Kitakata Gampi paper

Day three:

Reground the plate and draw more then etch the plate again

Day Four:

Print on Kitakata Gampi paper

Day Five:

Collage the printed Gampi paper on white rag paper equivalent to (Rives BFK white 250gsm) Stretched on a plywood board with gum tape.

Additional watercolor to enhance the final touch

s whose work explores the dynamic and expressive potential of the poster in contemporary art, illustration and graphic design are invited to submit work to juror Celene Aubry, Associate Director and Manager, Hatch Show Print in Nashville, Tennessee. All processes for poster design and output are eligible for submission. Subject matter is open. Special interest will be given to work that speaks to the important role that means of production plays in excellence of design. Entries must be original artwork in both concept and execution, and no portion may be of another artist’s published or copyrighted work.

Juror Biography: Celene Aubry is the Associate Director and Manager at Hatch Show Print, the legendary letterpress print shop continuously operating since 1879 in Nashville, Tennessee. Hatch got its start printing handbills and posters for a variety of entertainers throughout the South. Today, Hatch continues to function as a press—printing custom posters for musicians and events all over the world—while also showcasing print-centric art in their gallery and offering hands-on tours and workshops from their education space.

Important Dates:

July 1 - September 19, 2018 (Submission period)

September 24, 2018 (Juror decision notice sent)

October 22, 2018 (Work due to galleries)

Submission Information:

Submission limited to 3-5 works

Submission Fees: 1-3 works $30, 4-5 works: $35

Visit https://artlatech.slideroom.com to submit

Visit https://support.slideroom.com for online image/video prep help

Image criteria:

• Suggested image settings for best possible quality and ease of viewing for juror:

- .jpg file format

- sRGB color profile

- 1024 x 768 pixels for image files

- image submissions should not be larger than 5mb

For more information contact SOD Gallery Director Nicole Duet at nduet@latech.edu

acilities are available for intaglio, relief, monotype, waterbased silkscreen, digital processes, and other techniques that employ the tools at hand.



Keyholders work independently in the Printshop’s shared Artists’ Studio and have access to a vibrant community of peers. Artists from all disciplines are eligible to apply; printmaking skills are not required, but some familiarity with the medium is recommended.



Participation is limited and competitive. Applications are evaluated by a panel of seasoned artists, curators, and art professionals based on the quality of submitted artwork. Artists currently without a studio space are encouraged to apply.



Keyholder Residency includes:

· 24/7, one-year access to a shared studio with printmaking facilities

· $1,000 stipend

· One free printmaking class at the Printshop

· Free career development workshops and salons

· Group exhibition opportunities

· Consultation hours with Printshop printers



Eligibility:

· Only legal US residents may apply (i.e., Social Security cardholders)

· Students enrolled in any kind of degree program at the time of the residency are not eligible

· Keyholder Residencies are limited to emerging artists only. The Printshop defines emerging artists as under-recognized and under-represented artists in early stages in their careers

For more information contact: 212-673-5390 or info@printshop.org

br> GUEST CURATOR: Kaly Scheller-Barrett, Hashimoto Contemporary Kaly Scheller-Barrett is a visual artist and secret poet hailing originally from Bavaria. Drawing heavily from her extensive training in craft technique, Kaly’s work attempts to blur the boundaries between fine art and craft practices, asking the viewer to un- and re-frame their preconceptions of material. Kaly recently completed an MFA in Sculpture at California College of the Arts where she taught Craft Theory and is currently the Associate Director of Hashimoto Contemporary.

About Create! Magazine We connect our artists to a larger audience by featuring work in an archival limited edition print, our website, and social media platforms. We are passionate about providing opportunities for emerging and mid-career artists. Create! Magazine is a bimonthly digital and print independent publication for artists, designers and creative entrepreneurs. Our issues have been featured by Art Miami Fairs, Apartment Therapy, Stack Magazines, Study Breaks, Secrets of Green and more.

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

FEE: $35

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. All themes are welcome.

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.

seum of Art, Hunter College MFA Studio, and the Whitney Museum of American Art.

Comprised of lectures, discussions, and workshops, the curriculum will be based on Reed’s pedagogy and taught primarily by his former students and colleagues. There will also be accompanying exhibitions of his work and teaching archives.

And it just wouldn’t be right if we didn’t make a lot of drawings in the process.

Penn State Workshop: February 21-24, 2019, University Park, PA

New York Workshop: March 23, 2019, New York, NY

s, contemporary processes turn the tradition on its head, introducing new digital approaches and renewing age-old techniques by printing on and with alternative materials and tools. Whether you roll it, carve it, scratch it, mask it, screen it, transfer it, multiply it or discover it; Pushing the Pull lays claim to the rich vitality of current printmakers. This exhibition will be open November 10 - December 22, 2018 in The Projects space located in FATVillage, Fort Lauderdale.

The exhibition will open in two phases. The first opening will accompany the third edition of Small Press Fair, SPF’18, on November 10, 2018 and will feature 2-D experimental prints. The second opening will be held during the FATVillage Artwalk on November 24, 2018. This opening will expand the exhibition to include large-scale sculptural and installation based work to fill the entirety of the 10,000 sq ft Projects Space warehouse.

of printmaking.

This year the juror is José Diaz, Chief Curator of The Andy Warhol Museum.


Eligibility: Open to all artists 18 and older. Submissions must be original works on paper, created within the last two years, including but not limited to, digital, intaglio, lithographic, photographic, relief, serigraphic and stencil processes. Monotypes are also eligible but reproductions of pre-existing works are not.

Entry Fee: A $35 (nonrefundable) entry fee permits each artist to submit up to three prints.

Awards: Purchase Awards and Juror’s Merit Awards will be offered and announced at the opening of the exhibition. Each artist receiving an award will have their artist’s statement of 100 words or less printed in the exhibition catalog. Typically half of the show is purchased for the A-State Permanent Collection of Art and by the viewing audience.

In an attempt to be eco-friendly, our Call for Entry is available Online Only.

etching, aquatint, soft ground, and relief etching. Class structure allows for work in various processes and encourages long-term projects.

This is an adjunct position.

Qualifications:
An M.F.A. in printmaking or related experience is required. One to three years higher education teaching experience preferred.

Generalist in the printmaking field with a focus on etching. Digital experience is also preferred ( Photoshop, Illustrator, In Design or similar.)

Additional Requirements
Position takes place in an educational environment; manual dexterity to use computers is required.

The ability to lift heavy materials (30lbs).

The ability to sit and stand for extended periods of time.

How To Apply:

Please forward a letter of interest, a current resume/cv to the Human Resources department at Montserrat College of Art,hr@montserrat.edu, with the subject line “Intro to Printmaking.” Application deadline: August 16, 2018. Please also include images of personal work and images of student work, and a course outline that includes the core concepts and learning objectives of the course.

exhibitions, supplementary public programs and the ANNUAL International Competition (now in its 93rd iteration), as well as managing the publications program. The Curator is expected to participate in all aspects of the work of the organization to enable it to fulfill its
mission and to maintain standards of scholarship and professional practices. The successful candidate will have a diverse range of curatorial, communication and exhibition related skills. This is an excellent opportunity to work with a committed and ambitious team to create and realize a high impact curatorial program in a historically significant organization, and to contribute to a vibrant and forward thinking program.

Responsibilities
- Organize between five and eight exhibitions annually in our three exhibitions galleries. A single show can fill one, two or all three spaces. We present both solo and group exhibitions. This work encompasses every aspect of exhibition development and implementation of exhibitions, from initial project planning and research to participation in budgeting and resource development,
installation design, assisting in creating promotional strategies, and the development and presentation of interpretive materials and programs, including the exploration of platforms for creation and dissemination of program content.
- Manage ANNUAL International Competition. In its 93rd year, it is one of the most prestigious competitions in the country, and is juried by a different guest juror each year. The ANNUAL averages 450 submissions annually.
- Serve as registrar for exhibition materials to ensure that the works of art in the organization's care are properly documented, and installed/stored in a safe manner.
- Manage installation/deinstallation schedules and all exhibition related contractors.
- Assist Executive Director and Board of Governors with programmatic and strategic planning.
- Assist with donor stewardship and grantwriting and participate in planning and execution of
fundraising activities.
- Maintain and manage exhibition archives.
- Organize and implement a full roster of public programs that complement and supplement exhibitions in a variety of formats such as lectures, panel discussions, artist talks, readings, book launches and signings, gallery talks, informal events with special guests and visits to other cultural organizations.
- Represent the organization publicly at events, speaking engagements, as guest critic/juror, etc.
- Provide written content for exhibition interpretation, organizational history, press, website, special events and scholarly publications. Assist Communications Manager with exhibition and program related website presence.
- Maintain and build our established network of colleagues and partners (for exhibitions, programs, commissions, publications) with local, national and international peers and organizations.
- Oversee creation and distribution of organizational publications and the burgeoning publications program.
- Provide curatorial content for Artists-in-Schools Program, and assist with delivery of exhibition information to AISP Coordinator, Teaching-artists and classroom teachers.
- Provide exhibition tours to classes and other visiting groups, and train staff to do the same.

Qualifications
- Master’s Degree, or equivalent experience, in a related field required.
- Extensive knowledge of contemporary art with a deep interest in printmaking and photography.
- Minimum of three years of curatorial experience.
- Expertise in art handling, installation and packing.
- Excellent writing and interpersonal skills.
- Ability to work with administrative and graphic design computing tools

For more information click on 'External Link' below.

nd the “East meets West” dynamic. Participants are invited to explore artistic exchanges across geopolitical, cultural and disciplinary divides, and to examine drawings, prints, alba amicorum, painting, sculpture, decorative arts, architecture, and the intersections between them. Contributions from other disciplines, such as the history of science and conservation, are welcome. We invite 20-minute papers that explore, but are not limited to, the following questions:

- How is the format of the procession used to structure visual representations of Early Modern ceremonial occasions and cultural difference?
- How were processions perceived visually both by local and foreign artists?
- Moreover, what audiences were interested in these visual representations and what scope did such a broad and diverse range of visual material serve? It is widely acknowledged, for instance, that Festival Books were not only designed for the audience of the spectacle, but also for armchair readers who could thus experience the procession as if they had been present.
- In what way does the visual representation of a procession signify a means of negotiating between one’s own identity, heritage and outlook whilst in dialogue with another culture?
- How did diplomatic encounters encourage the production of procession scenes both during and after the diplomatic mission, such as the depiction of gift-giving ceremonies? We strongly encourage speakers to also consider less conventional modes of processions. Could, for instance, the sequential depiction of costumes in costume albums also be interpreted as a procession of some sorts?
- Through which visual strategies and spatial arrangements did the ephemeral decorations and arches erected on the occasion of glorious entries orchestrate a procession through the urban space, or thematise the idea of cross-cultural encounter?
- What are the effects (both ephemeral and lasting) of these processions that sometimes involve the construction of specific architectural constructions and temporary settings (e.g. the Field of the Cloth of Gold, 1520)?

The Early Modern Symposium offers an opportunity for research students from universities both in the UK and abroad to present, discuss and promote their research. We invite proposals from graduate students, early career researchers, conservators, and curators. Talks that draw upon technical analysis and other theoretical approaches are equally welcome.

Please send proposals of no more than 300 words along with a short biography by 24th September 2018 to talitha.schepers@courtauld.ac.uk and alice.zamboni@courtauld.ac.uk

The aim of this postgraduate symposium is to provide a platform for Early Career Researchers and postgraduate students to their share research with peers. We may be able to provide a subsidy for travel and accommodation costs, but please be aware that this may not cover all of your expenses. We prioritise candidates from the UK and Europe. We will notify successful candidates by Monday 1st October 2018, the latest.