College Art Association (CAA) Annual Conference
New York, NY, February 13-16
Abstracts due: 08/06/2018

The portability of artists' prints and printmaking projects (from comics to librettos, artists' books to 'zines) allows them to traverse borders and boundaries. But what remains attached to, and within, a print as it circulates, and how does it resurface, sometimes much later? An apprentice printmaker’s works, for instance, (covertly or overtly) bears the stamp of the master under whom she studies. A zine or broadsheet reveals layers of appropriation. This panel, then, attends to an important but neglected aspect of prints’ mobility: it puts the ways that prints were fabricated and the stories of their local origins in dialogue with their histories of circulation. From practitioners and historians, we seek discussions of images, designs, and materials of various “others” that lie within a print’s construction.

Inspired by voices speaking to the ghostly residues upon objects from Gloria Anzaldúa, to Jacques Derrida, to Luce Irigaray, to Harold Bloom, we solicit proposals that approach the haunting of printed material in various ways. In addition to semantic or metaphorical hauntings, we welcome papers that consider pedagogical haunting—that is, the things that viewers of printed material are supposed to learn and how—or the ways that prints have contributed to the unsettling of certain cultural forms. The aim is to exhume and revive the mis-identifications that printed materials have instigated over time.

To submit an abstract for consideration, please email Katie Anania (katie.anania@gcsu.edu) and Alexis Salas (alexisnsalas@gmail.com) by August 6, 2018 with a paper title, abstract (max. 300 words), and CV. Accepted participants will be asked to submit the full text of their presentation to the organizers in January 2019.

This panel seeks to investigate the racialized dimensions of print and printmaking. The medium has played a central role in the ideological founding of “race” and its hierarchies through visual representation. However, print’s materials, processes, and the language we use to describe them interface with conceptions of race in ways that require further study. For example, the term “stereotype” originated in the printing trade but has since evolved to mean an oversimplified general idea, often with pejorative racial connotations; the invention of chromolithography in the nineteenth century offered a more nuanced way of representing skin tones but simultaneously enabled the increased circulation of racist imagery; the rabid appreciation and collection of Japanese prints in the West altered artistic production globally while idealizing Eastern cultures; anthropological sketches and watercolor studies of native peoples were routinely translated to print, widely reproduced, and used as tools of imperialism and colonialism. Contemporary artists have responded to these historical issues: for instance, Glenn Ligon used the trope of a fugitive slave ad in his Runaways series (1993). Inviting papers related to these and other case studies, this session will consider how print and its study has implicitly upheld, revised, or challenged social constructions of race (including whiteness). This panel is geographically and chronologically open and will put mass images, fine prints, and bibliography from all periods in conversation to understand the medium’s material relationship to race on a global, transhistorical scale.

INSTRUCTIONS TO SUBMIT PAPERS/PROJECTS TO SESSION CHAIRS -------

Email the following directly to session chair(s) at miche355@umn.edu:

1. Completed session participation proposal form, (editable PDF, next page). Make sure your name appears EXACTLY as you would like it listed in the conference program and conference
website.
2. Paper/project abstract: maximum 250 words, as a single paragraph MS Word Document. Make sure your title and abstract appear EXACTLY as you would like them published in the conference program, Abstracts 2019, and the CAA website.
3. Email explaining your interest in the session, expertise in the topic, and availability during the conference.
4. A shortened CV (close to 2 pages)
5. (Optional) Documentation of work when appropriate, (as PDF) especially for sessions in which artists might discuss their own practice.

Panel Organizer ------------

Christina Michelon is a Luce /ACLS Fellow in American Art and a PhD Candidate in Art History at the University of Minnesota-Twin Cities where she is completing her dissertation “Interior Impressions: Printed Material in the Nineteenth-Century American Home.” Her work has been supported by the Smithsonian Institution, the Winterthur Museum & Library, the Center for Craft, Creativity, and Design, the American Antiquarian Society, and the Chipstone Foundation.

*View more information on how to apply via 'External Link' below.

This person will primarily work on cataloguing and coordinating the Prints Sales in New York.

Responsibilities
Working with the other members in the team, this role could encompass some of the following responsibilities:

Sales catalogues
Researching and cataloguing objects to the highest standard
Assisting and coordinating research, both internally and with external experts
Liaising with conservators and restorers
Preparing condition reports
Writing catalogue notes
Helping with aspects of catalogue production such as:
Liaising with Catalogue Production and other support departments
Ensuring that photography of objects is completed in a timely manner
Color-proofing of catalogue images
Proof-reading catalogue text
Helping coordinate production with Proposals and Design departments
Providing a comprehensive level of service to Sotheby’s clients. This includes responding to day to day client queries and maintaining client contact
Helping to respond to client estimate requests via phone and written response
Learning to evaluate works for auction and appraisal purposes
Helping to sell the sale by helping clients at the exhibition; speaking to clients about the property; develop, track and communicate client interest in lots; and execute bids at sale
Contributing to the creation of selling points and proactive sale outreach activities in the weeks leading up to the auctions
Assisting with proposals, both formal and in-house, in the months between sale seasons
Assisting with general department support, including answering phones
Active participation with the Prints community within New York – attendance at social and art world events e.g. gallery and museum openings; increasing the network of contacts and relationships within this market
Assisting members of the department in day-to-day projects, sale preparation and client management
Qualifications
Highly organized, detail-oriented
Ability to prioritize multiple highly important processes and responsibilities and meet deadlines
Excellent inter-personal skills and ability to establish close working relationships with internal support staff including administrators, operations, catalogue production, etc.
Excellent client service, including verbal and written skills
Excellent team player
Good computer skills
Requires flexibility in work hours as needed

The Print Studio Technician oversees the safe and prudent use of the newly expanded Pendleton West Print and papermaking facilities. He or she prepares the studio(s) for printmaking classes, demonstrates proper use of press equipment, tools, and supplies, and provides safety oversight for students working in the print studio(s) off hours. Helps the faculty source specialty materials and supplies, researches and maintains equipment, ensures proper expense reporting. Organizes and maintains print facilities, tools, and related expendables throughout the academic year. Coordinates withs studio faculty, EHS, and LTS staff to reinforce safe operating procedures, maintain MSDS information, and manage hazardous waste in the printmaking area(s).

Responsibilities:

1) Prepares printmaking studio supplies, inks, chemicals, and equipment. Orders and tracks use of expendables, sees to the proper functioning of press facilities, troubleshoots related digital equipment, including the laser engraver

2) Provides hands-on teaching support for print professor by demonstrating proper use of specialized tools and processes, especially those requiring involving chemicals, inks, solvents, repetitive upper arm movements and/or heavy lifting. Supports working protocols that control/limit exposure to toxins in the printmaking areas.

3) Provides flexible off hours technical advice and safety oversight for students working on assignments off hours in the print studios, including evenings and weekends.

4) Oversees proper safety and clean up procedures and helps maintain the studio facilities in accordance with EHS and other members of the staff. Insures that safe procedures are established, explained and followed by all those utilizing equipment.

5) Facilitates smooth coordination of all printmaking related projects underway in the studios during the academic year.

6) Serves as a working role model in the print studio(s) and assists with some professional printing projects as needed.

Requirements
Education:
BA, BS or BFA with evidence of strong studio experience in printmaking.

Experience:
Minimum four semesters of printmaking at the undergraduate level and an advanced portfolio.

Skills and Abilities Required:
Experience with copper plate intaglio/etching, stone and photo-plate lithography, screenprint, monotype and relief printing.

Some familiarity with Photoshop, Illustrator and InDesign, photo-polymer platemaking processes and ink-jet printing. Experience with papermaking and laser-engraving desirable.

Houghton Library, the primary repository for Harvard’s rare books and manuscripts, seeks an innovative, collaborative, and motivated Rare Book Cataloger. Under the direction of the Head of Rare Book Section, the incumbent will be responsible for providing original and complex copy cataloging and authority work for all printed materials following prescribed national standards. The incumbent will assist the Head of Rare Book Section and participate in planning various projects to support the Houghton Library’s efforts to catalog, preserve, and provide access to rare books, graphics, and other printed holdings in all formats and across Houghton’s curatorial areas. Houghton Library’s collections range across the history of civilization with particular strengths in European and American history and literature.

ESSENTIAL DUTIES AND RESPONSIBILITIES
Responsible for original and complex copy cataloging of rare books, serials, and other printed materials from 15th to 21st centuries in multiple languages and formats according to national standards.

Collaborates in the development, evaluation, and implementation of cataloging policies, standards, goals, procedures, and workflows.

Collaborates in the creation and maintenance of policy and standard documentation.

Participates in the creation, enhancement, and maintenance of authority metadata, both for local use and to contribute to the Name Authority Cooperative Program (NACO).

Participates in creating and implementing new workflows and projects.

Trains and reviews the work of other catalogers.

May supervise students, term and temporary employees.

Maintains weekly shifts at the reading room desk.

Maintains an active presence in local and national professional organizations.

Represents Houghton within the Harvard cataloging and library community, both informally through communication and collaboration, and formally by serving on committees and working groups.

Other duties as assigned.


Basic Qualifications --------

M.L.S. from an ALA-accredited academic program required.

Minimum of three years of extensive experience cataloging rare books and printed materials, including graphics, in a research library setting.

Demonstrated knowledge of cataloging standards and principles, including but not limited to: RDA, DCRM, MARC21, LCSH, RBMS and AAT thesauri, Library of Congress/PCC rules and authority control practices.

Demonstrated knowledge of integrated library systems and bibliographic utilities (OCLC Connexion). Experience with Alma and Aeon preferred.

Demonstrated knowledge of descriptive bibliography, book and printing history.

Reading knowledge of one or more Western European languages required (reading knowledge of Russian preferred).

Evidence of active participation, involvement, and leadership in local, state, regional, national, or international professional or scholarly associations.


Additional Qualifications ---------------

Demonstrated knowledge of current trends and issues in academic libraries, higher education, and relevant subject disciplines.

Knowledge of BIBFRAME and the principles of linked data.

Ability to identify basic preservation and conservation issues related to printed materials.

Understanding of current developments within the profession and demonstrated commitment to engage in ongoing professional development and service to the profession.

Experience implementing new technologies and other techniques to improve work processes.

Exceptional interpersonal and communication skills and the ability to work creatively, collaboratively, and effectively.

Capacity to thrive in a changing working environment.


****Additional Information ---- Review of applications will begin immediately.

Under the direction of the Chair of the Department of Prints and Drawings and the Chair of the Department of Photography, the Department Coordinator will provide essential administrative planning, organization, and execution in a collaborative environment.

Key Responsibilities:

• Lead the key administrative initiatives for the departments, following museum practices.

• Oversee paperwork for all acquisition and loan reviews by the Collections Committee, working closely with departmental colleagues, the Manager of Collections Documentation, Registrars, Gifts of Art office, and external contacts to process, ship, and register acquisitions.

• Oversee all departmental art-registration requests, including data entry on works of art, ship in/ship out requests, exhibition checklists and loan agreements, installation and conservation requests, photography, and the unpacking of small works of art.

• Work closely with the Department Chairs on the oversight of the departmental budgets and maintaining the budgets throughout the year (revenue and expense); tasks include submitting fiscal year budgets, quarterly forecasts, transfers, requests for payments, reconciliations, and general record keeping.

• Work closely with the Department Chairs on Human Resources paperwork; tasks include submitting staffing requisitions, submitting weekly attendance reports, managing volunteer and intern paperwork (badge requests, IT requests), and knowledge of museum practices.

• Work with Department Chair on planning and running the departments’ annual Curators Circles (including drafting event invitations, writing newsletters, organizing catering, tracking RSVPs, and coordinating logistics for off-site trips and collection visits).

• Arrange meetings with Curators Circles, advisors, patrons, colleagues, and external contacts, providing general communications and requests for Facilities, Media Services, Restaurant Associates, and other set-ups.

• May handle first contact with the general public, dealers, collectors, and donors regarding works of art in the collection and proposed donations and purchases.

Qualifications/Requirements:

• At least two years of experience, preferably in a complex arts organization/museum or other related office environment

• Detail-oriented, organized, and poised with strong verbal and written communication skills

• Must be energetic and able to work in a fast-paced environment without compromising high standards

• Independent and self-directed, with the ability to execute projects from start to finish; strong follow-through skills

• Strong computer skills, including Microsoft Office programs

• Understanding of museum databases (TMS preferred)

• Must be able to handle confidential information with care and discretion

• Comfort moving, unpacking, and measuring works of art on paper (including but not limited to prints, drawings, watercolors, photographs, and illustrated books) with training from curators and conservators

• Interest in connecting people and art

For consideration, please submit your cover letter and résumé to: resumes@mfa.org. You may also submit your materials via postal mail to: Human Resources Department, Museum of Fine Arts, Boston, 465 Huntington Avenue, Boston, MA 02115.

GHOST PRINT :
- striking another print without adding more ink; a second print made from the remaining ink on a matrix, block, or plate after the first print has been pulled
- also known as a cognate or rétage
- in a monoprint or monotype, may provide the basis or working up a subsequent image
- lighter, thinner, fainter - a suggestion of the first
- sometimes considered inferior by collectors
- spectral, eerie, haunting, ethereal

This open call is for prints or related work that fits the definitions and themes outlined above either strictly by process or under a broader conceptual framework.

We are primarily seeing works utilizing traditional printmaking processes such as monoprint/monotype, intaglio (collograph, etching, drypoint), lithography, silkscreen, relief, letterpress. Other works will be considered on a case by case basis.

Using the form below, you may submit up to 1-3 works for consideration; to show detail, you will be allowed 6 total images for a total of 2MB. A $13 submission fee will be used to defray the cost of review and exhibition.

Ghost in the Machine will open on August 23rd and run through September 13th. Please do not mail submissions until asked. If accepted, you will be notified by August 1st and must deliver your work in-person or by mail to Shoestring Press by August 12th. You must pick up your work in person by September 16th, or provide appropriate packaging with prepaid shipping for return by mail.

MGC is thrilled to announce a national juried small works exhibition, The Print Effect. This exhibition is open to US residents working in all forms of original fine art printmaking.

JUROR

Lothar Osterburg, has been an active artist and master printer for the past 30 years. He received a Guggenheim Creative Arts Fellowship (2010) and teaches at Bard College. Osterburg work is included in many public collections including Art Institute of Chicago, Fine Art Museum Houston and Library of Congress.

Apply via 'External Link' below.

The Yale University School of Art invites applications for an open-ranked tenured or tenure-track faculty appointment in the area of Painting and Printmaking to begin July 1, 2019. Candidates must hold an MFA or equivalent degree. We seek a working artist who works primarily in painting, or its expanded category, with an active and engaged exhibition record, as well as a strong technical background and conceptual grounding in the medium and history of painting. A minimum of 3 years college-level teaching experience, including experience teaching graduate students, and an ongoing, excellent and dynamic art practice is required. A knowledge of the discourses around contemporary art and an ability to address works across disciplines is desired, as our student population is often pushing disciplinary boundaries. The appointee will be expected to continue creative and professional activities while teaching in a demanding academic environment. A fully engaged presence on campus is required as well as a willingness to actively participate in service and community and collectively shape the future of the Painting/printmaking area and School of Art. Rank at the time of hire- as assistant, associate, or (full) professor- will depend on the appointee’s qualifications.

The successful candidate will teach both graduate and undergraduate level courses, advise graduate and undergraduate students, oversee master’s theses, participate in critique sessions, mentor students, serve on School and University committees, and actively contribute to and participate in the School’s vibrant co-curricular programming.

To apply, submit a letter of application, curriculum vitae with relevant professional and teaching experience, and names and contact info of three references, a sample syllabus for a painting course and 20 images of recent work online via the 'External Link' below. Review of applications begins October 1, 2018. Yale University is an Affirmative Action/Equal Opportunity employer. Yale values diversity among its students, staff, and faculty and strongly welcomes applications from women, persons with disabilities, protected veterans, and underrepresented minorities.

The School of Art & Art History (SAAH) at the University of Iowa invites applications for an Instructional Services Specialist in Printmaking. The School of Art & Art History is home to many outstanding programs including several that have been ranked by U.S. News & World Report and other publications as among the nation’s best. Our state-of-the-art instructional and exhibition spaces include the newly opened Visual Arts Building.

The Instructional Services Specialist in Printmaking will be responsible for the operations and management of the printmaking facilities within the School of Art and Art History. Key duties include presenting demonstrations on the use of equipment and processes of the facility. Duties also include maintaining federal and state safety regulations, ordering, maintaining and troubleshooting supplies and equipment, and supervision of student employees.

Education or Equivalency Required ----------------
- MFA in printmaking or equivalent combination of education and experience.

Required Qualifications -----------------
- Working level proficiency in a variety of printmaking processes (including lithography, letterpress, silkscreen, intaglio, and relief.)

- Working level proficiency regarding the operation, repair, calibration and maintenance of a variety of printing presses and equipment (including Vandercook letterpress, lithography and intaglio presses.).

- Strong organizational skills, ability to develop and improve systems related to a complex fine arts studio.

- Strong communication skills (written & verbal).

- Experience writing proposals, and/or collaborating with faculty to prioritize studio improvements.

- Experience training tool use and equipment skills, including sharpening carving/engraving tools.

- Experience with proper handling, set-up, and disposal of chemistry/hazardous materials associated with printmaking.

- Experience purchasing materials, equipment and supplies, while maintaining an inventory and budget, experience with Excel

- Experience training and managing staff.

- 2 years of professional experience monitoring an instructional facility, and/or managing a fine art press or professional print shop.

- Experience with technology related to printmaking including digital cutting equipment (CNC plotter or laser cutter), Photoshop and Illustrator.