ay.

About The Juror:

Jennifer Melby is a master printmaker specializing in intaglio printmaking. She opened her studio in the early 1980’s and has worked with Brice Marden, Donald Baechler, Michael Byron, Eric Fischl, Janet Fish, Jane Freilicher, Joanne Greenbaum, Dan McCarthy, Suzanne McClelland, Sean Mellyn, and Paul Henry Ramirez, among others. Prints made in her studio have been acquired by many contemporary print collections including the Museum of Modern Art, New York Public Library, Whitney Museum, Houston Museum of Fine Art, Cleveland Museum of Art, Smith College, Tate Gallery, Pinakothek der Moderne, Munich, and the Yale University Art Gallery.

DATES:

Call Announcement Date: June 7, 2018

Final Submission Deadline: August 7, 2018

Notification Letter Date: August 15, 2018

Gallery Exhibition Dates: September 21 –October 21, 2018

Opening Reception: Friday September 21, 2018 from 6-9PM

tt, Smithsonian Design Museum
2 East 91st Street, NY, NY 10128

Cooper Hewitt seeks an experienced candidate to conduct object-based research and cataloguing of significant historical material by the American graphic designer E. McKnight Kauffer (1890-1954), housed in both the Drawings, Prints & Graphic Design (DPGD) collection and the Archives collection. The Cataloguer will report to the Assistant Curator of Modern and Contemporary American Design.

MAJOR DUTIES:
Creates robust catalogue entries for museum object records related to designer E. McKnight Kauffer in The Museum System (TMS), the museum's collections database. Through research, verifies object information such as material, dimensions, date, designer, and client. This information will enrich the internal TMS database and also be accessible online through the museum's website and via in-gallery digital interfaces. Drafts object-based texts and constituent biographies.

Retrieves objects from storage (onsite and offsite) as needed to verify cataloguing information through direct observation. Handles objects in accordance with proper safety guidelines as directed by Curatorial, Registrar, and Conservation staff.

Reviews records in TMS to make sure all information is accurate, properly fielded, and properly formatted. Makes corrections as needed after consulting with Curatorial staff.

Collaborates with contractors including archivist and digital preservation specialist as needed.

SALARY:

Contractor will receive an hourly salary commensurate with experience. Qualified candidates will be sent a Request for Quote (RFQ) and invited to submit bids.

QUALIFICATION REQUIREMENTS:
• Bachelor’s Degree in art history, design or decorative arts, Master’s Degree preferred.
• One year of prior museum work preferred.
• Knowledge of basic museum registration methods.
• Experience utilizing The Museum System (TMS) or other museum database systems.
• Ability to enter information into The Museum System (TMS) and verify information entered is correct.
• Ability to perform work accurately and neatly when recording information by hand or electronically. Ability to proofread own work and verify information is correct.
• Ability to handle art objects and follow safety procedures as instructed by curatorial and conservation staff.
• Ability to work independently as well as part of a team.
• Ability to meet deadlines and goals in cataloguing objects is essential.
• Ability to take ownership of projects to ensure deadlines are met or exceeded.


APPLICATION PROCEDURE:

Please submit cover letter and resume (addressing qualification requirements) to CHCataloguer@si.edu
Open until filled.

Please click on the 'External Link' below for more information.

any theme of Renaissance and Early Modern printmaking, or any aspect of print scholarship for the era 1300–1700. Because RSA is a multidisciplinary society, we especially welcome session proposals that transcend geographic and disciplinary boundaries, as well as those that engage current theoretical interests in Renaissance printmaking’s historiography, materialism, archival theory, bibliographic studies, or social history.

Series of sessions in honor or in memory of an individual scholar are limited to two sessions per honoree. Co-chaired sessions are welcome; junior and senior scholars are encouraged to collaborate. Chair or co-chairs must be members of APS. You do not need
to be an RSA member to submit a session proposal to APS, but all accepted participants must become RSA members for 2019 and register for the conference. Please note that proposing a session or a paper indicates your commitment to attend.

How to submit a session proposal for APS sponsorship:

To propose an APS-sponsored session, please submit a session title and 250-word abstract that describes the topics and issues of printmaking that your session will address. Submissions should include a CV for each chair. Please indicate “APS-Sponsored session proposal RSA 2019 TORONTO” in the subject line, and send to: info@printscholars.org

Submission deadline for all session proposals: Tuesday, 10 July 2018 at 11:59 p.m. (U.S. Pacific Daylight Time). Acceptance decisions will be communicated to submitters in by Friday 13 July 2018.

, letterpress, collagraphy, etching, woodcut, lithography, linocut, drypoint, mezzotint, monoprint and solar plates. Digital and photographic elements may be used only as a supporting element.

ABOUT THE JUROR:
Jennifer Melby is a master printmaker specializing in intaglio printmaking. She opened her studio in the early 1980’s and has worked with Brice Marden, Donald Baechler, Michael Byron, Eric Fischl, Janet Fish, Jane Freilicher, Joanne Greenbaum, Dan McCarthy, Suzanne McClelland, Sean Mellyn, and Paul Henry Ramirez, among others. Prints made in her studio have been acquired by many contemporary print collections including the Museum of Modern Art, New York Public Library, Whitney Museum, Houston Museum of Fine Art, Cleveland Museum of Art, Smith College, Tate Gallery, Pinakothek der Moderne, Munich, and the Yale University Art Gallery.

Site:Brooklyn is a gallery dedicated to exhibiting the current practice of contemporary artists.

CALL TO ARTISTS FOR SUBMISSIONS:

Final Submission Deadline: August 7, 2018

Notification Letter Date: August 15, 2018

Gallery Exhibition Dates: September 21 –October 21, 2018

Opening Reception: Friday September 21, 2018 from 6-9PM

ELIGIBILITY: This call for submission is open to all artists 18 years of age or older. This is a juried exhibition for artists working in painting.

JURYING: Entries that differ significantly from their digital images may be rejected. The decision of the judges, are final.

SUBMISSIONS AND FEES: Only original works may be submitted. The fee is $35. The fee is for up to three (3) images, plus $10 for each additional image.

A completed application consists of the following information and files: Name, contact information, Images,

Text descriptors for each image must include Title, Year Completed, Medium & Dimensions

All entries must be registered/received by midnight August 7, 2018 MST

All entry fees are non-refundable.

DIRECTIONS FOR ONLINE SUBMISSION VIA 'External Link' BELOW.

colonial encounter was disseminated through printed means, including woodcuts, engravings, etchings and the newer technique of lithography.

In recent years considerable attention has been given to colonial photography depicting Indigenous Australians, yet relatively little has been undertaken into the earlier and formative archive of colonial-era prints of Indigenous Australians.

This conference will bring together scholars, curators, librarians, artists, collectors, dealers and anyone with an interest in print media and visual culture to explore the production, circulation, collection, publication and exhibition of prints of Indigenous peoples in transnational circuits of communication. While some academic papers will be presented, we're hoping to include a wide range of perspectives on this colonial visual archive at the conference.

Attention to the mobility of technologies, techniques and technicians along with traces of resistance and assertions of sovereignty are encouraged. We seek to interrogate how settlers inscribed ‘prospects for settlement’ and the ways they ‘put themselves in the picture’ of colonial incursion. The conference is interested to explore all aspects of racialized thought within the production and dissemination of the foundational and formative visual library of colonial prints.

The 2018 Graphic Encounters conference is joint hosted by the History program and the Centre for the Studies of the Inland at La Trobe University, providing a forum for a much needed examination of this overlooked archive of inscribed Indigenous peoples. The conference is designed to encourage reflection on Australian prints in transnational circuits, and those produced in prints workshops around the world and the impacts of these imaged meanings across disciplines. The movement of images and artists, printers, publishers and collectors through these ‘webs of empire’ through networks of dispersed yet intersected publics as they competed to lay claim to the New World will be showcased through the conference. It will focus on hundreds of well-known and still unknown and startling images, yielding new understandings about settler impressions of Aboriginality, race relations and their sense of place in New Holland/Australia.

Panels and papers are invited which address the following themes in historical/cultural perspectives and contemporary debates:

- Sovereignty and resistance
- Periphery and portrait
- Technicians, techniques and technologies
- Mobility and trade
- Printing and publication
- Collecting and exhibiting
- Local and global connections

Further details of the submission guidelines are available via the 'External Link' below.

rn in religious, political, and economical developments. Medieval bodies were permeable microcosms, not only sites containment but also of revelatory experiences. In the early modern period, body and identity were indistinct, interdependent categories, inseparable from the natural and cultural space that they inhabited. This logic of perpetual fluidity both generated a disquieting sense of impending doom, but also allowed for the propagation of multiple possibilities of understanding, which materialised into a rich visual and material culture.

We are delighted to invite all those interested in medieval and early modern studies to a 2-day conference on Friday 5 and Saturday 6 October 2018 at University College London. This event will explore medieval and early modern notions of the changing body, as well as changing notions of the body. Images and ideas of permeable bodies will serve as an inclusive platform of inquiry into bodies of different race, gender, sex, and ability.

We welcome 20 minutes talks from scholars of any career stage. We are particularly interested in incisive and provoking perspectives on bodies traditionally relegated to the margins, in conjunction with gender and disability studies. We seek critical and original responses on the theme of corporeal permeability across not only disciplines, but also chronological and geographical boundaries.

The conference includes a workshop at the Wellcome Library, where selected images from the archives will be displayed in a private study room.

Keynote speaker: Dr. Jack Hartnell (University of East Anglia)

Please send a short abstract (200-300 words) and a biography (100 words) by Monday 23 July to Laura Scalabrella Spada and Lauren Rozenberg at permeablebodies@gmail.com. We will notify applicants by Monday 6 August.

Bursaries available on application. Please click on the 'External Link' below for more details on how to apply, updates, and additional information.

(1905-1960).

Within the framework of this programme, the Fondation Giacometti gives its support to unpublished research into the modern period by providing access to its research centre, funding for a study grant and support for publishing in the form of a literature collection. The cosmopolitan modern movement in Paris is one of the focal points of this programme.

———
Research Grant of the Fondation Giacometti, Paris for the History of Modern Art (1905-1960)

The Fondation Giacometti Research Grant is awarded to support significant contributions to the history of modern art. It is aimed at young researchers whose work focuses on the art of the modern period (1905-1960), and which offers original perspectives, either because of the subject chosen or the angle adopted.

The award recipient of the Fondation Giacometti Research Grant will receive a grant of 10,000 euros, and will be invited to contribute to the research activities of the Institut Giacometti in Paris, within the École des Modernité (School of Modernities) program (lectures, seminars, workshops,…). The Fondation Giacometti offers ready access to the Institut Giacometti's archives and library, together with mentoring for the successful candidate’s research.

Eligibility requirements

The proposed projects must be original and not published anywhere else, in the past or the future. They should be based on primary sources which are, at least partially, unpublished. Study projects, of a maximum length of two pages (5,000 signs including spaces) should be submitted either in French or English. Candidates should hold a minimum qualification of master’s degree in Art History or Aesthetics at the time of application. The duration of the research depends on the nature of the subject but should not exceed one year.

———
Publication Grants of the Fondation Giacometti, Paris - École des Modernités literature collection

This call for applications to contribute to the École des Modernités literature collection is aimed at young researchers whose work focuses on the art of the modern period (1905-1960), and which offers original perspectives, either because of the subject chosen or the angle adopted.

Successful candidates will see their study published in the form of a book of about seventy pages, in the École des Modernités Collection. They will be paid a fee of 800 euros. The Fondation Giacometti will cover the costs of translation, proof reading, publication and distribution and will provide 40 copies of the book to the author. The Fondation Giacometti offers ready access to the Institut Giacometti's archives and library, together with mentoring for the successful candidate’s research.

Click on the 'External Link' below for more information.

is Japonisme and women.

It is well known that many Western women have been attracted since the 17th Century to the exotic objects brought from Far East, although their interests, as seen in their diaries and letters, have not always been carefully studied. Women, whether Western or Eastern, were frequently depicted as the subject of Japonist paintings, beginning with the famous painting La japonaise by Claude Monet. Japan itself was represented as "woman" in some cases. These examples show the fact that women were at the core of Japonisme.

The 8th Hatakeyama Symposium would like to stimulate discussion and advance this research on the relationship between Japonisme and women. We would therefore welcome papers that explore a range of subjects where women play an important role as subject, object, or metaphor. If you are interested in participating, please send an abstract of your paper (up to 600 English words) as a Word or text document to japonisme@world-meeting.co.jp by Tuesday July 10th 2018. You will be notified of the decision by Friday August 10th.

The symposium proceedings will be published after the event. The participants will be asked to submit a written version of the paper by Saturday November 24th 2018, according to details that will be specified by the symposium’s organizing committee.

Society for the Study of Japonisme
c/o World Meeting Corp.
2nd F., Neo-Arakicho Bldg. 5-14, Arakicho,
Shinjuku-ku, Tokyo, 100-0007, Japan
Tel. +81-3-3350-0363
Fax. +81-3-3341-1830
japonisme@world-meeting.co.jp

Please note that participation at the Symposium is limited to the members of the Society for the Study of Japonisme. If you are not a current member, you may apply for membership along with your submission to participate in the coming symposium. Once your membership is approved, you have the right to give a paper at the symposium.

ty. They have also helped to enrich both inter/transdisciplinary approaches in the contemporary history of art and our understanding of art produced in different mediums, before and after modern times. In this direction, the VIII Art History Symposium at the Universidad de los Andes invites proposals for individual papers discussing and examining some of the methodological, analytical or theoretical new challenges and prospects for the discipline concerning the relationship between art & mediums in artworks produced in any time, place, and medium(s). Papers may include responses to, but are by no means limited by the following:

1. Rosalind Krauss reformulated the modernist discussion on medium in response to what she considered a crisis related to the emergence of video in the sixties. She proposed a post-medium notion of medium in terms of supporting structures of “differential” and self-differentiating elements and in terms of the open possibilities of various interactions between these components. On her part, Carol Armstrong proposes a feminist interpretation of Georges Seurat’s “pointillist mark”, which she interprets in terms of a “complex matrix of interrelated media and materialities,” and as optical as well as embodied, tactile, and generative mark. The symposium invites papers related to the study of how artworks and practices could be understood from a perspective that emphasizes materiality and creation within conditions and dynamics of an art medium’s “self-differentiating elements” or of interrelatedness of different art media.

2. Ji Hoon Kim’ Between Film, Video and the Digital: Hybrid Moving Images in the Post-Media Age (2016) shows that both medium specificity and Krauss’ proposal hardly help to study works that use other exhibition devices and platforms to “mediate and scrutinize in the material and technical complexity of the cinema”. Andrew Uroskie’s Between the Black Box and the White Cube (2014) shows how artists in the 1950s/60s used sculpture & other media “to address fundamental aspects of the cinematic experience”. In this direction, the symposium seeks papers that study how production and reception of art before and in modernity occurs in terms of perception, communication, and the interweaving and hybridization of media and mediums. The symposium also invites investigations on how artists and institutions have developed and problematized formal, structural, and ontological characteristics of mediums/media in order to ‘expand’ the different cultural and communicational possibilities of art.

3. Raymond Bellour’s L’Entre-Images: Photo Cinéma Vidéo (1990) demonstrated that video, electronic, and digital artifacts did not dissolve cinema, but rather enabled its development and allowed the reexamination of the relationship between old and new mediums. This task was assumed and reformulated by the “media archeology”. The symposium invites papers evaluating intricate (bio)tecnologic dynamics of memory, narrative, and (bio)politics in specific art works, addressing reexaminations of the relationship between traditional and new (art) mediums, or studying how these mediums give an account of their own histories and hybridizations.

Speakers have 20 minutes for presentations. Please send your proposal to Juan Carlos Guerrero-Hernandez (historiadelarte@uniandes.edu.co). Make sure you write “VIII Art History Symposium” in the subject. Proposals should include 2 files (PDF or Word). The 1st file includes a tentative title of the paper & an abstract (400-600 words). Please, avoid including your name in this document. The 2nd file should include a short CV (between 100-200 words) stating your full name, academic affiliation, e-mail, and list of publications.

of distant geographies and landscapes, real or imagined. For instance, Jacopo Stradano’s landscapes in his Nova Reperta series, although figments of the artist’s imagination, play a crucial role in defining lands that are waiting for European appropriation. Similarly, the landscapes in Albert Eckhout’s or Frans Post’s paintings contribute as much to the complexity of otherness and discourses of colonization as do the figures in these pictures. The people, flora, and fauna illustrated in Athanasius Kircher’s China Monumentis exist in landscapes that fully participate in the construction of such images’ meanings.

The authors of sixteenth and seventeenth-century textual accounts of foreign lands similarly attempted to characterize the most marvelous topographic features of distant lands. However, scholarship on these images and texts has often focused on the proto-ethnographic way in which these sources could convey ‘information’ (however inaccurate) about the landscapes from which the products derived. Alternately, scholars have considered the collection of foreign, ‘exotic,’ natural specimens (bulbs, plant samples), animals (living or represented), and other natural ‘wonders’ as components in microcosmic studioli or Wunderkammern, or have privileged the images that isolate specimens of flora and fauna from their ecosystem.

Rather than see flora and fauna as curiosities, devoid of spatial context, however, we hope to explore instead the ways in which early modern artists imagined, represented, manipulated, and invented non-European landscapes. Landscape, as a genre, had a long-standing and codified tradition in early modern Europe. By interrogating the ways in which this tradition accommodated or contributed to narratives of colonization and empire-building, we hope that we might better understand the agency of landscape as a genre and as a forum for the construction of ‘foreignness.’ We seek papers that focus on the spatial, cultural, and natural context of landscapes as sites for the production of knowledge and for the evolving discourse of ‘otherness’ in early modern Europe. Papers in this session might address the following questions:
• How does the genre of landscape incorporate observation, specificity (real or illusory), and notions of scientific accuracy to evoke the ‘exotic?’
• In what ways did artists force the limits of the genre, or manipulate the veracity of the landscape in order to comply with the conventions of the genre, while representing non-European landscapes?
• In what ways did artists (such as Frans Post or Albert Eckhout) work to shape European conceptions about foreign places?
• How did the diverse, and often competing agendas of various European countries shape the way in which foreign lands were represented, for example as welcoming, hostile, civilized, built, or savage?
• How did foreign landscapes, often manipulated to comply with the conventions of the European genre, accommodate local architecture? How are the tensions between colonial architecture and foreign ecosystems articulated by artists?

Please submit proposals to Erin Benay (eeb50@case.edu) and Francesco Freddolini (francesco.freddolini@uregina.ca) by July 23, 2018. Proposals should include a paper title (15-word maximum); and abstract (150-word maximum); keywords; and a brief academic CV (300-word maximum). Submission guidelines available via the 'External Link' below.