mentor to develop and expand their knowledge and research skills in their specialist geographical or period field of pre-1900 European drawings, as well as to broaden their wider experience of the graphic arts, and curatorship in general, through the experience of being part of a curatorial team looking after one of the world’s largest works on paper collections. During their time in the Museum the Getty Foundation Fellow will be expected to research and improve the cataloguing and provenance history of a part of the Museum’s outstanding collection of c. 60,000 pre-1900 British and European drawings, as well as playing their part in wider curatorial activities and duties of the Department and of the Museum.

tent related to their specific subfield of research/profession to the APS website (although editors can certainly post any print related content that they find). We are seeking applicants from a wide range of professions, who can represent a diverse geographical base, focused on four designated specialty areas, including:

- Old Master prints
- 18th and 19th Century prints
- Modern and Contemporary prints
- Artists/Studio Printmakers/Teachers/Other working professionals (freelance authors, gallery, auction, conservation, ...)

Editors are encouraged to actively contribute and share content with the APS network by finding any information related to prints that fits into one of the categories on the website, which include: News, Opportunities, and Scholarship. Potential content can be found via websites, email listservs, and other communities of which they are already a part.

The position requires only a minimal time commitment and a resource guide & training will be provided to new Editors. Editors should post a minimum of 1-2 listings a month, but more posts are always welcome!

Please email Elisa Germán at web@printscholars.org by June 15th if you are interested, and please indicate your field of expertise. Decisions will be made by June 30th.

nt information on the Cruikshank prints and drawings and to synthesise and record it accurately
• To create entries that are as complete as possible within the constraints of performance targets
• To complete the cataloguing of the Museum’s Cruikshank collection, including about 175 illustrated books and pamphlets, and working material bequeathed by the artist’s widow
• To improve, where necessary, existing records for over 6,000 prints and over 2,000 drawings by Cruikshank
• To be an advocate internally and externally of the Museum’s Cruikshank collection.

Person Specification:

With degree in languages, history of art, history or equivalent and a working knowledge of German, Italian or French, you will have thorough knowledge of the work of George Cruikshank and the relevant literature. Along with some record of publication in the field of 18th- or 19th-century prints, you will also have some experience of working in a museum graphic collection print cataloguing.

fornia, Santa Barbara. Also included are images created prior to and following the creation of Liber Novus that have been gathered into a book along with relevant essays to be published as „The Art of C.G. Jung“ (Norton 2018).

During the course of the conference, participants will have the opportunity to walk a few short steps from the primary venue on the UCSB campus to the Museum and view first-hand the images now at the heart of analytical psychology. A book launch for „The Art of C.G. Jung“ will be a part of the festivities and authors who have contributed essays to this exciting new volume will be featured speakers as part of the conference program. The Red Book has moved beyond the circumscribed world of professional analysts and psychotherapists to fascinate and influence the general population worldwide since it became a best seller in 2009 and the exhibition will run from January through April2019 free of charge for anyone interested.

Just as Jung’s The Red Book was a living symbol of renewal out of the ashes of World War I, we are planning a conference for the creative expression of psyche as it persists through the troubled times surrounding us – from environmental disasters to political turmoil. We hope for illumination through the interplay of word, image, and body as it manifests in artistic productions, conference presentations, and as it emerges spontaneously through collective interactions throughout the conference itself. Inspired by The Red Book – in many ways conceived by Jung as an illuminated manuscript – we aim to create an experience of unfolding awareness of soul that reaches back to medieval times and forward into an uncertain but potentially meaningful future guided by the illuminated imagination. We hope to revalue Jung’s practice of active imagination as a powerful tool for both a clinical and cultural revitalization that serves as a connection with depth and that opens us to the possibility for surprise.

As has always been the case with Art and Psyche conferences, we invite artists of all kinds, including poets, painters, sculptors, writers, actors, architects, dancers, and musicians, along with psychologists, psychoanalysts, psychotherapists, expressive arts therapists, dance therapists, and anyone interested in depth psychology ,to submit proposals that revolve around “The Illuminated Imagination” as the center that connects us. With in Spiration from this over-arching theme, we invite you to follow creative threads as they lead into expressions and modalities of your choice.

The following may serve to spark your ideas for proposals but please do not feel constrained by our suggestions:
- Artistic practices and processes as forms of individuation
- Embodied imagination and movement
- Word and image: from ancient to modern forms
- The symbolic function of art within the life of the maker
- Eco-psychology, individuation and imaginal processes
- The animated vision of the indigenous psyche
- Deepening the use of active imagination within clinical practice and beyond
- Illumination and its symbolic meaning
- The Red Book as inspiration
- The religious function of the psyche
- The value of play with mind, body and soul
- The value of art during times of political upheaval
- Arts-based research

The conference and exhibition site is a wonderful one! Located on the sea, the plenary and break out rooms have water views and on the other side, mountains are clearly visible. Temperatures will be warm and comfortable in early April and we will host an opening reception, the book launch and a gala dinner outside on the patio adjacent to the main meeting area. A food court is housed in the same building as the conference.

s/her/their own discipline and/or Digital Humanities. Qualifications for the position include excellent writing and communication skills, expertise in an area of medieval visual culture (broadly defined as European, Byzantine, Islamic art and architecture or related fields), and experience working with Drupal and information architecture.

The primary role of the Fellow will be to help develop a website that accompanies a new textbook on medieval art. The Fellow will be collecting and organizing data from several sources for implementation in the website. Close collaboration with the authors, content creators, publisher, and web host is required. The Fellow must possess strong organizational skills and the ability to meet firm deadlines.

Responsibilities
The first sixteen months of the Fellowship will be dedicated to the development of the website. In 2020, the Fellow will teach one semester-long course in the Department of Visual Studies at University of Toronto Mississauga. The topic of the course will align with the Fellow’s research area and include a Digital Humanities component.
At the University of Toronto, the normal hours of work for a full-time postdoctoral fellow are 40 hours per week, recognizing that the needs of the employee’s research and training and the needs of the supervisor’s research program may require flexibility in the performance of the employee’s duties and hours of work.
The stipend per year is $45,000 (Canadian) plus benefits. The position begins on September 17, 2018 and ends September 1, 2020.

Background
The University of Toronto Mississauga is one of the three campuses comprising the University of Toronto. It is home to the Department of Visual Studies, which offers several undergraduate programs in art history and related fields. The Fellowship provides opportunities for scholarly exchange with faculty and students on the main campus, including in the Graduate Department of Art, Centre for Medieval Studies, Pontifical Institute of Mediaeval Studies, the Department of Near and Middle Eastern Civilizations, and the iSchool. In addition, the Fellow will have opportunities to participate in the Tri-Campus Digital Humanities Network, which builds upon some of the University’s well-known and ground-breaking projects (Dictionary of Old English, DEED, DECIMA) while providing a platform for scholars of many disciplines who are at the forefront of digitality.

Eligibility and Attributes
Applicants must have completed the Ph.D. degree within four years of the beginning of the fellowship, 17 September 2018. Applicants who are to defend their thesis after 17 September 2018 are eligible, but a letter from their supervisor or Chair may be requested. Any award will be conditional on a successful defense. Applicants who received their Ph.D. prior to 17 September 2014 are ineligible.
The successful candidate will have an established track record in medieval visual culture and experience in digital technologies. The candidate will have an understanding of and interest in the history, development, and current state of the field; willingness to work with scholars in different areas of specialization; ability to meet deadlines; and the desire to learn and pursue research in an interdisciplinary, collaborative environment.

Application Procedure
Applicants should send a Letter of Application, Curriculum vitae, and research sample (a completed thesis chapter, published article, or digital publication or portfolio) to Prof. Jill Caskey, c/o Debra Burrowes, dvschair.utm@utoronto.ca. In addition, applicants should have two letters of reference mailed directly to the same address. All applications must be received by 15 July 2018 at 11:59 p.m. (EDT).

gether by our Guest Curator, Lissa Rivera, curator at Museum of Sex, NY. All submissions will be considered for Show #51 and the accompanying online show. Simultaneously, Field Projects Panel will be considering the submissions for future group shows, solo shows, art fairs, off-site exhibitions, feature in Field Magazine, feature on our social media and our studio visit program (NY Artists). About 85% of the artists we have shown at Field Project are discovered through the open call process. Believe in the PROCESS!

Check out a few of our previous Open Calls; DEEP STRETCH curated by Sara Salamone and Tyler Lafreniere (Mrs.,NY), STRING THEORIES curated by Charlotte Mouquin (Director Pelham Art Center, Director Rush Art Galleries), JULIE SPOKE SOFTLY UNDER HER LONG SKINNY NOSE curated by Paulina Bebecka (Director Postmasters Gallery). Here are a few other examples of what can happen with your submission: A NIGHT IN THE WOODS (solo show), HANDS ON (solo show), SOONEST MENDED (solo show), WAVE POOL (group show), SPRING/BREAK (art fair), VOLTA (art fair), SOFT ANIMAL (off-site exhibition), A SERIES OF MOVES (off-site exhibition).
Field Projects is an NYC-based project space located in the heart of Chelsea's gallery district. As an artist run space, we are committed to opening the field of exhibition opportunities to other working artists. Whether you have submitted to Field Projects before or it's your first time, we would love to see your work!

All submissions will be considered for:
- The Summer Exhibition
- The Online Exhibition
- Solo Exhibitions at Field Projects
- Group Exhibitions at Field Projects
- Art Fairs
- Off Site Exhibitions
- Featured in Field Magazine
- Featured on our Social Media
- Our Studio Visit program for NYC artists

Guest Curator: Lissa Rivera, curator Museum of Sex (NY). Rivera is a photographer and curator based in NYC. Since 2016, Lissa Rivera has curated and produced exhibitions at the Museum of Sex, with a focus on contemporary art. As a curator, Rivera strives to include traditionally underrepresented voices regardless of formal education or exhibition history. Recent shows have been widely covered and celebrated in the media. Rivera has worked with collaborators including Marina Garcia-Vasquez of VICE Media and Frank Maresca of Ricco/Maresca Gallery.

Field Projects Panel
Rachel Frank (Artist / Curator), Jacob Rhodes (Artist / Curator / FP Director), Kristen Racaniello (Curator/Artist), Alissa Polan (Curator/Artist), Mikela Wesson (Artist / Curator)

Eligibility & Terms
Artists working in all medium are welcome to apply.
All artwork submitted must be ready to hang or install. Works on paper must be framed. Photographs must be framed.
Artist living outside NYC are also welcome to apply, however you will be responsible for artwork shipping costs.
Artists working in new media, film, or video - you may be required to use your own equipment for exhibitions.
Artists may submit up to 5 works.

Submission Fee : $35

About Show #51 --------
The theme of the show will come from the work submitted.
Selected artists will be notified by June 11th, 2018
All artwork must arrive at Field Projects by Thursday, June 21, 2018.
Show #51 opens June 28, with an artist reception June 30th, 6-8pm
Show #51 closes July 28
All artwork in Show #51 will be for sale, with artists receiving 50% of final sale.

How to Apply -----
Please visit our Submittable page by clicking on the APPLY button below !!!
Create a user account. It's free and you can revisit the site to put finishing touches on your submission. It is confidential and your information will not be shared.
Upload your Artist Statement, CV, and up to 5 images of your work.

opportunity to publicly present their work on campus. The Ekard Artist Residency seeks to provide students at Bucknell with the opportunity to engage with, and learn from accomplished artists through master classes, workshops, demonstrations, and/or studio critiques in conjunction with the Department of Art & Art History. Additionally, the resident artist is expected to hold an open studio once per week. The residency culminates in a public presentation of new work created during the artist's stay through a lecture, catalog, performance, or exhibition in collaboration with the Samek Art Museum.
Eligibility

The Ekard Artist Residency accepts applications from artists who have achieved significant recognition in their field. Applicants currently enrolled in a degree program are not eligible. While the artists are evaluated primarily on the quality of their creative work and their ability to enhance our students' education, we are also interested in the potential of the artist's practice to translate into an innovative new body of work during the residency period.

The Ekard Artist Residency encourages applications from artists representing the widest possible range of perspectives and demographics.
Award

The Ekard Artist Residency provides private housing, a multi-purpose studio, meals, a materials budget, and a $10,000(US) honorarium. Other expenses, including travel, must be covered out of the honorarium. Payment will be made upon the completion of the residency.
Application Requirements

- 20 images of your creative work, labeled with title, date, dimensions, uploaded to SlideRoom
- Link to your website (optional)
- CV
- Artist statement
- Proposal for student engagement (approximately 500 words)
- Proposal for creative work, describing the project(s) you would develop during your time at Bucknell. (approximately 500 words)
- Contact information for 3 references who are familiar with you and your work.

Please find complete instructions and application.
Residency Period

Four to six weeks from mid-March through April 2019
Application Deadline

Aug. 1, 2018
Finalists will be notified by Oct. 5, 2018.

Bucknell University is committed to a policy of nondiscrimination and equal opportunity for all persons regardless of race, sex, color, religion, creed, national origin or ancestry, age, marital status, sexual orientation, gender identity, gender expression, or disability.

ctor of the Center for Science and Society, founding director of the Making and Knowing Project, founding director of the Center for Science and Society, and chair of the Presidential Scholars in Society and Neuroscience.

With the rising of Renaissance Art and Culture, scholarly communities all around Europe assumed the name respublica litteraria—the Republic of Letters. Its citizens produced new literary genres, such as Utopia and Emblem books, as well as numerous Medical, Nature and Science books, where art and artists collaborated to offer a new visual form. This connection, between erudite and artists, was articulated by Noël d’Argonne, one of its citizens, who wrote in 1699: “The arts are joined to letters, and artisans also have their place in it [the Republic of Letters].”

This conference seeks to explore the citizenship of artists in this ‘strange imaginary land’ (Grafton, 2009): What was the artists’ and art’s position in the Republic of Letters? Were they ‘naturalized citizens’ as Alberti had hoped? Was art, whose craft-tools are the brush, the chisel and the construction bar, an active participant in its enterprises? Or were the artists and their work only secondary and used merely to illustrate the texts, which the ‘autochthonous’ citizens produced?

We invite papers from graduate students and young scholars from all art and humanities disciplines that consider diverse conceptualization of the relations between Art and Letters and the position of Art within the Republic of Letters, as well as the varied ways and case studies in which art and artists collaborated, influenced and were influenced by scholars, scientists and collectors. Although the conference focuses on the Early Modern period, we also welcome papers that examine preceding or posterior manifestations of these relations.

Topics for papers could include, but are not limited to:
- Emblems
- Ekphrasis
- Kunstkammer and Wunderkammer
- Utopia
- Art and Science
- Art Academies
- The Republic of Letters and the Promotion of Art and Artists
- Network Topology
- Women Artists and Scholars
- Perspective/Camera Obscura

All submissions are invited by June 30, 2018 and should be sent to: respublica.litterariail@gmail.com

All submissions should include:
Abstract – must be in English and should be limited to 300 words.
Please head your abstract with your name, university affiliation and position, and the paper’s title.
A one‐page curriculum vitae
E‐mail address for correspondence.

All presentations are to be in English and limited to 20 minutes, followed by discussion.

All applicants will be notified whether accepted or declined by July 30, 2018.

Travel and Accommodation: Applicants should take under consideration that we are not able to cover travel expenses (we may be able to offer a limited amount of travel stipendium). However, participants coming from abroad, should they desire to do so, will be hosted by their Israeli student peers.

For more information or any further inquiries please contact us by email: respublica.litterariail@gmail.com

Conference Chair:
Dr. Tamar Cholcman

Coordinators:
Tamar Abramson
Orly Amit
Hila Kohaner
Alexandra Dvorkin
Yael Barash

to fill a non-tenure track Lecturer position during Fall 2018. A subject of particular need is intaglio Printmaking, including hard/soft ground etch, drypoint, aquatint and its various methods. Compensation will take the form of wages. A terminal degree (MFA) is required. Candidates must have a strong commitment to teaching. Applications will be considered beginning May 27, 2018.

To apply, please complete a Candidate Profile online through Jobs@UVa, and electronically attach the following: a current CV, cover letter, and complete contact information for three professional references. Search on posting #0623271.

Questions regarding this position should be directed to:

Akemi Ohira Rollando
434-924-7051
ao9s@virginia.edu

Questions regarding the online application process should be directed to:

Ashley Watkins
434-924-6122
adf2p@virginia.edu

The University will perform background checks on all new hires prior to making a final offer of employment.

The University of Virginia is an equal opportunity/affirmative action employer. Women, minorities, veterans and persons with disabilities are encouraged to apply.

inting and digital technologies.

The successful candidate will teach a variety of offerings for majors and non-majors including all levels of Printmaking, Drawing, and serve as a mentor to students in the BFA Senior Studio. Faculty may also have an opportunity to teach courses in the College’s Integrative Studies Program.

Additional responsibilities include overseeing the 1800 square foot printmaking studio which includes both an acid and darkroom and a multi-use space for etching and lithography and serving on departmental committees. We currently offer topics in a broad range of print media including: intaglio, color etching, stone and plate lithography. Other responsibilities may include participating in campus-wide committees, advising, and mentoring undergraduate research/creative activity.

Our students come from diverse socioeconomic and educational backgrounds, with a high percentage of first generation college students. By the time Keene State College students complete their undergraduate experience they develop skills in critical thinking, creative inquiry, intercultural competence, civic engagement, and commitment to well-being that will serve them as active citizens and lifelong learners. We strongly encourage individuals to apply who will support the College’s ongoing efforts to help students become responsible global citizens.

The Art & Design Department has 160 majors and minors and 7 full-time faculty members. We offer both BA and BFA degree programs in studio art and graphic design. For information about the Department of Art & Design at Keene State College visit: https://www.keene.edu/academics/programs/art/

Apply online by clicking on the 'External Link' below by June 1, 2018 to receive full consideration.

Applicants should be prepared to upload the following separate documents when applying online:

Letter of Application addressing the above responsibilities
- Curriculum Vitae
- Contact information for three references
- Images of Current artwork (no more than 10 images)
- Images of Student artwork (no more than 10 images)
*Note: You will not be able to upload letters of reference to the job portal when you apply. At the time of application you will be asked to supply the contact information for three references. These references will receive an email asking them to submit a letter of recommendation at the time of application.

Application Deadline: Review of applications to begin immediately and will continue until the position is filled or otherwise closed at the College’s discretion. For full consideration, please submit materials by June 1, 2018.

Keene State College is located in the center of New England in the beautiful Monadnock region. The region contains many opportunities to enjoy outdoor recreation, cultural events, and a strong sense of community. Boston, Montreal, and New York City are 2-4 hours away. For more information about the Monadnock region visit: http://discovermonadnock.com/

Qualifications Required: An MFA degree in Printmaking (or an international equivalent) is required at the time of appointment. Evidence of teaching at the collegiate level, and a demonstrated national exhibition record is required. Preference will be given to candidates with screen printing experience.

Internal Number: PF018FY18