2018 Graduate Student Symposium, Department of Art History, University of California, Los Angeles (UCLA)

Desire lines are paths caused by erosion and foot traffic that form alternate routes or shortcuts. Common in parks and other public areas, the resulting paths defy constructed routes such as sidewalks and therefore constitute traces of popular alteration. Beyond a
visible trace or alternate path, what are the consequences of such changes? In what ways do alterations both generate and restrict possibilities? How do these modifications function as objects and images? What larger processes might they indicate?

The UCLA Graduate Art History Symposium seeks proposals for presentations that consider the history and aesthetics of public alterations. As with user-generated paths marking the change over time to designed environments, public alterations noticeably
transform existing surfaces, structures, subjects, and systems. Examples of public alterations related to the arts and art history include: environmental interventions of earthworks and ancient precedents such as the Nazca Lines; pentimenti, or the legible traces left by modifications made during the artistic process; manuscript palimpsests formed by erasing or scraping pages in order to reuse the document; the transformation of artworks via reproduction, destruction, repatriation, or curatorial framing; spolia, or plundered materials repurposed by conquering powers; iconoclastic interventions to works of art; theoretical discourses such as post-colonialism and feminism and other ways of re-negotiating thought practices and the canon; censorship, violence, and war; graffiti; body modification; cultural appropriation; and online meme circulation.

The framework of public alterations is both broad and fundamental. It cuts across various disciplinary, geographic, and historical contexts, and highlights such essential elements of art and art history as process, the object, the image, intention, and change. In this spirit, we invite proposals for scholarly and creative presentations from across the humanities that consider the history and aesthetics of public alterations.

Send a CV and an abstract (250-300 words) to arthistorygradsymposium@gmail.com by June 11, 2018. Questions can be directed there as well.

2018 Lecture on Dürer: "Nuremberg weapons. Dürer's work as a source of weapons and costume design" ---------------------------

The annual "Dürer Lectures" have become an internationally acclaimed event since 2002. They are organized jointly by the Cultural Department of the city of Nuremberg, Museen der Stadt Nürnberg and the Albrecht Dürer House Foundation. The lectures are dedicated to uncovering new areas of study and connections between the artist Albrecht Dürer, his work, and its afterlife, as well as his contemporaries and posterity.

We would like to find specialists in related specialties to address a range of topics on Dürer from their perspective. The lecture series are also a forum for young scholars.

Recently, local art collections in the city of Nuremberg have acquired officer armor from the 16th century. The majority come from one of the most extensive arsenal holdings from the imperial city, once one of the largest armories in Europe, and are located in several public and private art collections around the world. For this reason, this year's lectures on Dürer are dedicated to new scholarship as a unique source of questions of armor, weaponry and military technology.

There are only some suggestions for topics, and proposals should be no more than 200 words from the historical-cultural studies.

The individual presentations should last no longer than 45 minutes and be understandable to a wider audience of scholars. Presentations will be followed by 15 minutes of discussion.

The Albrecht Dürer House Foundation e. V. will pay a fee of 200 euros per lecture and travel and hotel costs.

Please send your proposals by 30 July 2018 to thomas.schauerte@stadt.nuernberg.de

or by mail to:
Nuremberg City Museums
Art Collections
Dr. Thomas Schauerte
Äußere Sulzbacher Str. 60
D-90491 Nürnberg

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

Residency Length: Two, three, and five weeks
Costs: Accepted residents are fully funded. Artists can apply for additional stipends within the application.

Ox-Bow’s Artist-in-Residence program, located in Saugatuck, MI, offers artists and writers the time, space, and community to encourage growth and experimentation in their practice. During the fall residents are given the time, solitude, and focus often unavailable to so many working artists. At Ox-Bow, artists can enjoy 24-hour access to their studios, and an inspirational setting, free from the expectations of commercial and academic demands. During the fall season, Artists-in-Residence have the opportunity to work in studios not available during the summer session. The fall is an ideal time for writers to apply as there are studios dedicated specifically to them. It’s also a great time to propose group or collaborative work. The residency is open to all visual art disciplines and writers.

The residency provides:
• Studio (access to ceramic, printmaking, and painting studios—if you would like access to these facilities make sure this is clearly stated in your application)
• Private room
• Meals
• A community of engaged artists
• Opportunities to share work: slide presentations and/or readings

We are happy to announce that in 2016 Ox-Bow furthered its commitment to the needs of artists by no longer charging fees for the residency program (including application, room & board, and residency fees). All accepted residents are fully funded. Artists may apply for additional stipends to help pay for the cost of travel, supplies, and time away from work. To find out more about Ox-Bow’s AIR program and to apply, visit our website: www.ox-bow.org

WHAT: A two-week program in the history and contemporary practice of publication.

WHERE: The program will take place for one week at Triple Canopy’s venue in Manhattan and for one week at the RISD Museum in Providence, Rhode Island; it will include visits to studios of artists and designers, archives, and cultural institutions.

WHO: We invite applications from recent college graduates, graduate students, and those with comparable experience; we discourage applications from those with much more experience. Prospective participants might have backgrounds in areas such as writing, art, literature, art history, technology, and design.

COST: Tuition is free, though participants must arrange and pay for their travel and accommodation. All reading and viewing materials will be provided free of cost.

APPLY: Online through 11:59pm on Sunday, April 29.

During the Publication Intensive, Triple Canopy editors and invited artists, writers, scholars, designers, publishers, and technologists will lead discussions and workshops. Participants will research, analyze, and enact an approach to publication that hinges on today’s networked forms of production and circulation but also mines the history of print culture and artistic practice.

The Publication Intensive will address such questions as: How have artists, writers, and designers used the pages of magazines and books as sites of and material for experimentation? How have new-media publications challenged conventions of authorship and reception, only to have those very challenges soon become the foundation of the new economy? How have people responded to ensuing changes in the media landscape? And how have responses differed in areas with disparate resources and relationships to technology? What are the politics of access and identity associated with online public forums and media?

In the second week of the Publication Intensive, participants will work with Triple Canopy editors on the development of an upcoming issue that will act as the magazine’s contribution to an exhibition at the RISD Museum in 2019, “Raid the Icebox Now.” (“Raid the Icebox Now” marks the fiftieth anniversary “Raid the Icebox I with Andy Warhol,” a landmark of artist-curated museum exhibitions.) Triple Canopy has been invited to engage with Pendleton House, which was created to display the 1904 bequest of Charles L. Pendleton (1846–1904), who has been called the “father of art as applied to furniture”; his superlative collection was meant to demonstrate to the public the merit of American design. Pendleton’s furniture is now on view alongside selections from the museum’s collection, which range from portraits of colonial aristocracy to Chinese ceramics. Pendleton House exemplifies a rarefied lifestyle: that of an eighteenth-century gentleman “with taste and wealth,” according to the museum’s 1904 catalogue. But, from the perspective of the present, Pendleton House also speaks to an incessant flow of commodities, ideas, and bodies—and the extraordinary labor of nevertheless constructing a national identity that appears to be constant and indigenous.

With Publication Intensive participants, editors will speak about how identities are cultivated through the circulation of goods, the branding of native expressions, and the repurposing of foreign styles. We’ll ask how creative acts might effectively displace historical figures and styles, superimpose the present on the past. We’ll consider how various approaches to publication might forge new (and resurrect old) narratives around artworks and homewares—and, in so doing, work against the kind of rhetoric in which artificial images of bygone days form an idealized vision of the future.

For all related inquiries, write to edu@canopycanopycanopy.com, and for more information, please click on the 'External Link' below.

The prints of Rembrandt Harmensz. van Rijn (1606-1669) have captivated collectors for centuries. Still, much remains to be learned about his printing and production process. The dearth of contemporary documentation about Rembrandt's printing studio, along with the frequent posthumous reworking and reprinting of his plates, foreground the importance of studying paper characteristics in tandem with print connoisseurship, to continue the establishment of a Rembrandt printing chronology and bring further discoveries to light.

Watermarks-images imparted by paper molds to the European paper supports on which most of Rembrandt's etchings are printed-have become particularly essential in dating Rembrandt impressions. Building on Dr. Erik Hinterding's landmark 2006 study of Rembrandt watermarks, the WIRE project as represented in a current touring exhibition, is building a digital platform to further Rembrandt scholarship by enhancing access to detailed information about the over 200 batches of paper used by Rembrandt.

In this five-day residential workshop, set against the beautiful backdrop of the Finger Lakes region, a small student cohort will learn about the watermarks field and contribute to this important project. In addition to working intensively towards completion of individual branches of an interactive computer decision tree designed for the rapid identification of Rembrandt watermarks, students will:
- gain knowledge of the manufacture and imaging of historic papers;
- investigate Rembrandt's printmaking techniques with real works of art;
- become familiar with print connoisseurship and cataloguing; and
- discuss strategies for the visual and semantic differentiation of watermarks.

Other topics will include chain line matching for identifying "moldmates" in historic papers, and Rembrandt as marketer. The workshop is fully funded by NEH, and participants will receive room and board on Cornell campus. Applicants should be upper-level undergraduate or graduate students interested in printmaking, Rembrandt studies, paper conservation, and/or a general materials approach to the study of art. No programming skills are required.

Workshop instructors:
Dr. Andrew C. Weislogel, the Seymour R. Askin, Jr. '47 Curator, Johnson Museum of Art (aw27@cornell.edu)
Dr. C. Richard Johnson, Jr., Hedrick Senior Professor of Electrical and Computer Engineering and Jacobs Fellow, Jacobs Technion-Cornell Institute, Cornell Tech (crj2@cornell.edu)
Brittany R. R. Rubin, Print Room Curatorial Assistant, Johnson Museum of Art (brr55@cornell.edu)
Special guest speaker: Stephanie S. Dickey, Bader Chair in Northern Baroque Art, Queen's University, Kingston, ON

To apply, please submit a cover letter stating your interest in the workshop and detailing how its topics might serve your educational and career interests, accompanied by a CV.

Deadline extended! Send materials in a single PDF file to brr55@cornell.edu by April 27, 2018. Questions may be similarly addressed.

The Milwaukee Art Museum seeks an expert in prints and drawings to oversee a works on paper collection that includes artworks dating from the Renaissance to the 21st century. Central to these holdings is a broad and diverse collection of European works on paper, with unique areas of strength that reflect the character and history of the institution and the community. Particularly noteworthy are the Hockerman collection of French prints (17th-19th century, with great depth in Jacques Callot), the Marcia and Granvil Specks Collection of German Expressionist prints, along with significant drawings by modernists including Degas, Redon and Nolde. The Museum also has significant contemporary works-on-paper holdings, including the Landfall Press Archive. Additionally, the Museum is home to a comprehensive collection of posters by the founder of the French poster movement, Jules Chéret. The collection of over 600 works is a promised gift and the successful candidate will catalogue and organize the collection into a major traveling exhibition of Cheret’s work as a primary incoming project.


Qualifications ---
- M.A. in Art History, Ph.D. preferred
- 2 to 5 years Museum experience in a department of works on paper
- Have a proven record of exhibition organization
- Excellent writing and speaking skills
- Possess the ability to work with the Museum’s other departments to coordinate related programs
- Experience in cultivating donors and collectors
- Working knowledge of at least one foreign language, preferably French or German
- Familiarity with the history of printmaking and printmaking techniques

Duties & Responsibilities ----
Caring for the museum's comprehensive collection of over 12,000 prints and drawings; curating exhibitions in works on paper spaces throughout the galleries and in the museum's main special exhibition spaces; overseeing rotations of works on paper; acquisitions and donor relations; staff liaison to Print Forum, a volunteer institutional support group; managing the museum's new print room and study center. Salary and benefits are competitive.

Exhibitions: Curate three to four exhibitions/rotations per year, including regular Jules Chéret rotations. S/he will also be required to curate exhibitions in one of the museum’s main special exhibition spaces. Exhibitions are primarily collection based, but also include loan exhibitions.

Collection care and development: Work with the Collection Manager of Works on Paper to manage the collection’s storage and presentation. Coordinate with conservators, registrars and the Collection Manager of Works on Paper to assess condition and framing needs. Work with collectors and dealers and the Chief Curator and Director to acquire works of art through donation and/or purchase.

Print Forum: Lead Print Forum, a volunteer institutional support group, to develop 4-6 programs (lectures, trips, symposia, and special events) per year and secure acquisitions.

Work Environment: The work environment characteristics described here are representative of those an employee encounters while performing the essential functions of this job. Reasonable accommodations may be made to enable individuals with disabilities to perform the essential functions.

Physical Requirements:
- Lift 10-20 pounds
- Reach above shoulders
- Lift above shoulders 10 pounds
- Stoop, kneel, crouch or crawl upon occasion
- Move about museum on demand
- Color vision
- Ability to adjust focus

Purpose of position: Curatorial internship to photograph, catalogue and research the Blanton print collection and conduct independent research for future exhibitions. Intern will gain wide knowledge across the field of print history and have the opportunity to craft and present educational programs related to the collection.

Essential functions:

· Photograph a significant portion of Blanton print collection and conduct independent research to catalogue prints for future exhibitions.

· Under supervision of the Assistant Curator of Prints and Drawings, gain expertise in the identification and accurate description of prints.

Marginal/Incidental functions: Other related functions as assigned.

Required qualifications: High school graduation or GED. Experience in a museum or gallery setting. Must have expressed interest in prints and printmaking.

Preferred qualifications: Current graduate student or advanced undergraduate in art history or museum studies. Prior knowledge of print history and techniques and experience handling works on paper.

Position duration: Terminates on 8/1/2018

Hourly salary: $11.70

General notes: This is a 4 day/week position for a total of 8 weeks and will take place between June 2018 and August 2018. Maximum stipend for all work is $3,000.

The University of Texas at Austin is an Equal Opportunity/Affirmative Action Employer. All qualified applicants will receive consideration for employment without regard to race, color, religion, sex, national origin, disability, age, citizenship status, Vietnam era or special disabled veteran’s status, or sexual orientation. Under Section 504 of the Rehabilitation Act and the Americans with Disabilities Act, disability accommodations will be provided as needed.

How to Apply / Contact ---
Blanton Museum of Art
IFPDA Summer Internship
Posting Number: 18-04-05-01-4029

Interested applicants must submit an on-line application and applicable materials through the University of Texas at Austin job website via 'External Link' below.

Study Course of the Warburg House
Organizers: Prof. Dr. Peter Schmidt and Lena Marshall, MA, University of Hamburg

If the world is conceived in separate spheres of this world and beyond, of the divine and the creaturely, structures of mediation are needed. Mediality has therefore been worked out in recent years by the cultural sciences and theology as a central aspect of Christianity. Christ and the saints are media in the sense of the mediation structures between humanity and God. The sacred can become a medium in its sensually perceptible concretization - in the form of sacred places, objects, relics, etc. At the same time, the sacred itself requires mediation. For, as Gregor the Great put it, man has become so dull from the fall of sin that he can only recognize the divine through aids such as sensuous perception.

This is where the picture comes into play. The presence of the saints in or behind the pictures has been much talked about in the field of art science; not enough about the medial functions of images with regard to the sacred. This is now the goal of this year's study course of the Warburg House. Possible topics include:

- Images multiply / spread sacred
- How new visual media conveys the sacred
- Pictures and sacred places / sacred objects
- The bodies of the saints - invisible, visible
- The sacraments (as media salutis) and the medium of the picture
- Pictures thematise mediation processes between the human and the divine
- Reformations of the mediation function of images

These are only suggestions.

The annual in-house Warburg study course, which is jointly organized by the Art History Department at the University of Hamburg and the Aby Warburg Foundation, provides a forum for young academics. We expect from the genius loci of motivation and inspiration.

Weed out applications from advanced students or graduates of art history or a relevant area of ​​cultural studies that have begun a master's or doctorate in a broad thematic field of study course or recently completed. Advanced students in the main or master's degree, who have developed a relevant and concrete interest, are also invited to apply. The participants will present their research topic or a relevant aspect in a 30-minute contribution. Intensive discussion and exchange on these contributions, on selected aspects of the Framework subject and relevant texts should be the focus. In addition, a one-day field trip is planned. Discussion language of the study course is German, but non-native speakers can recite in English their own contributions. The cost of travel (2nd class) and accommodation in a double room bears the Aby Warburg Foundation.

Applications can be written in German or English and should contain the following documents (all in one PDF):

1. Curriculum vitae
2. Brief outline of a presentation topic, and statement of motivation for participation (together max. 500 words)
3. Estimates of travel expenses

Applications must be until May 7, 2018 addressed to Prof. Dr. Peter Schmidt and Lena Marshall, MA, at the e-mail address: lena.marschall@uni-hamburg.de

Contributor: Jessica Wyman jwyman@faculty.ocadu.ca

Co-chairs: Jessica Wyman, OCAD University; Dan Adler, York University

This session is focused on contemporary art practices that stretch or subvert conventional definitions of drawing. We wish to explore how and why drawing—a medium long associated with both the activity of ideation and the manual act of creation—continues to play a central role for process-based and conceptually rigorous practices, allowing for an opening-up or expansion of established understandings of aesthetic production. We welcome papers from artists and art historians offering case studies that combine close readings of specific artworks, approaches to drawing practices, and theoretical discussion. Papers may address specific compositional devices—such as the grid, the diagram, the sequence, and the matter of linearity and/or legibility. We wish to explore strategies, from the 1960s until the present, that deal with some of drawing’s assumed attributes—its mobility and elasticity, its economy and anti-monumental character, its exploratory nature, and its capacity to serve as a mediating form, along with elements such as the notational, the diagrammatic, and the reductive. Potential topics may include politically or polemically engaged approaches to drawing and the line such as those, for example, which reflect indigenous, queer, feminist, and other marginalized cultures and communities.

Contact Information:
Prof. Jessica Wyman, OCAD University
jwyman@faculty.ocadu.ca

Prof. Dan Adler, York University
dadler@yorku.ca

Submissions should be made by email to both chairs, listed above, and must include: name and email address of the applicant; applicant’s institutional affiliation and rank (submission from independent scholars and practitioners is also welcome); paper title and abstract (300 words maximum); and a brief bio (150 words maximum).

Proposals may be submitted by current members or non-members of UAAC. Non-members must become members of UAAC and pay registration fees in order to present a paper at the conference.

The 2018 UAAC conference will be held at the University of Waterloo, Canada, October 25-27, 2018

Blanton Museum of Art
IFPDA Summer Internship

Posting Number: 18-04-05-01-4029

Interested applicants must submit an on-line application and applicable materials through the University of Texas at Austin job website via the 'External Link' below.

Position duration: Terminates on 8/1/2018
Hourly salary: $11.70
General notes: This is a 4 day/week position for a total of 8 weeks and will take place between June 2018 and August 2018. Maximum stipend for all work is $3,000.

Summary

Purpose of position: Curatorial internship to photograph, catalogue and research the Blanton print collection and conduct independent research for future exhibitions. Intern will gain wide knowledge across the field of print history and have the opportunity to craft and present educational programs related to the collection.

Essential functions:
• Photograph a significant portion of Blanton print collection and conduct independent research to catalogue prints for future exhibitions.
• Under supervision of the Assistant Curator of Prints and Drawings, gain expertise in the identification and accurate description of prints.

Marginal/Incidental functions: Other related functions as assigned.

Required qualifications: High school graduation or GED. Experience in a museum or gallery setting. Must have expressed interest in prints and printmaking.

Preferred qualifications: Current graduate student or advanced undergraduate in art history or museum studies. Prior knowledge of print history and techniques and experience handling works on paper.

The University of Texas at Austin is an Equal Opportunity/Affirmative Action Employer. All qualified applicants will receive consideration for employment without regard to race, color, religion, sex, national origin, disability, age, citizenship status, Vietnam era or special disabled veteran’s status, or sexual orientation. Under Section 504 of the Rehabilitation Act and the Americans with Disabilities Act, disability accommodations will be provided as needed.