The workshop discussion will deal with content production and reception mechanisms within visual media of the 15th and early 16th century. The central theme is the process of becoming image, so the question is how the idea and transmitted inventio of the artist into the picture and, above all, as anyone can see how the image of this transfer process. we want to pursue as part of the workshop discussion and examine it, the artists give what specific role the creative process and its visualization this question.

Pliny d. Ä. postulated in the 35th book of natural history, that is why more would admire the unfinished works of the artist, "because you [liniamenta] and even the considerations [cogitations] the artist sees in them left behind sketches and because of the pain of the hand, the solidified during the creation, incites to higher compliance. "this is illustrated by the sketches and signatures, which the artist offered to work impartially the opportunity to experiment and change the concept of the image because he did not expect that these drawings become visible again after various layers of paint were applied over it. By Infrarotreflektographien we can understand the intentions and thoughts of the genesis today and make fruitful for questions on the relationship between material form and invention of the artist.

But not only in secret to creative work processes reveal, but they can be aware disclosed by the artists in both autonomous drawings as well as paintings by visualization of materials and technology. This theming of the design process can, that's the basic premise of the workshop discussion, be understood as an artistic display of self-assurance that is able to differentiate between imagination, vision and reality. This is especially evident in the image issues where no prevailing convention exists (end time motives, fantasy figures, visions, etc. visions.) And must be reinvented again and again. Essential elements of this practice are random, experiment and chaos - categories which, although clearly spelled out in art theoretical discussion, but were so far rather little studied as an artistic strategy of creating an image and becoming image example of specific cases.

The workshop discussion is where this desideratum and examined both the postulated intellectual standards of the design process, as well as the visualization on process, accidental and experimenter.

Articles on the following topics and issues are planned or desired:
- genesis and image development
- chance and experiment as artistic practice
- drawing / sketch / design as a transfer medium of an idea
- drawing as successive realization / opening up a theme
- creativity and creativity as an art theoretical concepts
- act of creating an image as a perception and image critical reflection
- Visualization of the design process as an artistic strategy and aesthetic principle

Workshop on current research or sketches of ideas for future projects are much desired as post suggestions of young scientists. The contributions can be held in German or English. Interested persons are invited to an abstract of the mentioned or related subjects for a 25-30 minute presentation including a short CV to send to 04/29/2018 to the following people (max 3000 characters.): Kathrin Borgers, MA ( kathrin.borgers@uni-koeln.de ) and Dr. Jeannet Hommers ( jeannet.hommers@uni-koeln.de )

Travel and accommodation costs can be covered. The venue is the University of Cologne (main building, Albertus-Magnus-Platz, 50923 Cologne). the meeting of equality means the Faculty of Arts, University of Cologne is encouraged.

The Grippe Curatorial Fellow is responsible for the Peter Grippe Collection, comprised of about 12,000 works of art, including sculpture, paintings, prints, drawings, collages, printing plates, and sketchbooks by Peter Grippe, with additional works by his wife, Florence Grippe, and a small selection of prints and drawings by other artists.

Known primarily as a sculptor and printmaker, Grippe took on the directorship of Atelier 17, the renowned and influential print workshop, in the early 1950s in New York.

Responsibilities ----------
· Make recommendations regarding accessioning and dispersal for works of art in the Grippe Collection. Provide specific recommendations for institutions to which to donate and a selection of works to offer to each. Make recommendations for dealers and auction houses to approach for possible sale of works. Contact institutions, dealers, and auction houses to complete the dispersal of the collection.
· Evaluate condition of artworks to determine whether conservation is necessary.
· Write a narrative explaining the criteria and reasoning for the selection of works from the Grippe Collection recommended for accessioning into the Allentown Art Museum’s permanent collection. This will be based upon an evaluation of the Grippe collection as a whole, with consideration of how this collection fits into the Allentown Art Museum’s print collection, American art collection, and overall collections.
· Conduct research as necessary to complete this work.
· Catalogue accessioned works from the Grippe Collection and enter information into database.
· Develop exhibition and project proposals based on the Grippe Collection.

Qualifications -----------
Master’s degree in Art History or a related field
1-3 years museum experience preferred
Knowledge of prints preferred
Art handling experience preferred
Excellent research and writing skills
High level of organizational skills, aptitude for detail, and ability to work well independently
Strong time management and interpersonal skills

TO APPLY
Please submit your resume and cover letter by email to: hr@allentownartmuseum.org

The advent of print technology is regarded as a crucial cusp in the inception of socio-political and cultural modernities in the context of the decline of feudalism and the emergence of industrialized, capitalist and democratic social systems. Print culture is envisaged as a metaphor of transition in the era of scientific excogitations, egalitarian notions of knowledge and liberalist dimensions of individuality. Evolution of print and the subsequent transmissions of knowledge, plethora of communication systems, circulation of ideas and preservation of data are considered as the hallmarks of modernity.

The emergence of print culture brought forth drastic transformations in the realms of literature, art, religion, administration, science, education, culture, modes of communication, and technology. The most significant aspect of print modernities is its radical thrust on visuality and practices of seeing which initiated multidimensional transference of knowledge across boundaries. Print technology exerted two opposite forces on the world; inflating it along with the expanding knowledge, ideas and visions and simultaneously contracting it by obliterating distances and binding people together.

C-PRACSIS will be organizing an international conference reflecting on the pertinent questions related to the advent of print and the evolution of modernities by incorporating multiple disciplines, approaches, methods, locations and positions. We invite papers and panels from scholars, researchers and students of Art, Literature, Humanities, Sciences and Social Sciences for the forthcoming International Conference on ‘Print Modernities’ on 30-31 August and 1 September, 2018 at Thrissur, Kerala, India.

All proposals are subject to a peer review process and selected conference-papers will be published in the forthcoming volume of the C PRACSIS Reader. The receipt of abstracts will be acknowledged immediately and the selected paper-presenters will be notified after the fortnightly peer review meeting of the presidium of the conference. For further details and updates, please click on the 'External Link' below.

Armistice Day 2018 marks the centenary end of World War I. This symposium explores the conditions and impacts of the “Great War,” as experienced during and afterwards, with a special focus on the perspective from the American Heartland. The war had tremendous human and economic repercussions. It also motivated technological, medical, and cultural advances, and it paved the way for transformative social change, from Prohibition to women’s suffrage.

Keynote speakers: Dr. John H. Morrow, Jr., Franklin Professor of History, University of Georgia. Author (with Jeffrey T. Sammons) of Harlem’s Rattlers and the Great War: The Undaunted 369th Regiment and the African American Quest for Equality (2014) and Dr. Lynn Dumenil, Robert Glass Cleland Professor Emerita of American History, Occidental College. Author of The Second Line of Defense: American Women and World War I (2017).

We invite papers that examine a wide range of topics such as, but not limited to
- Domestic and regional mobilization and demobilization Social implications of technologies and industries of war
- Reintegration and post-war shifts in gender, class, and labor relations
- Cultural representations of war, home-front support, and life in the aftermath
- Memories of the war in music, literature, film, drama, art, graphic arts
- Civil rights, social stratifications, and diversity in the military and civilian life
- The peace and anti-war movements

DEADLINE FOR 350-500 WORD ABSTRACT: APRIL 2, 2018. Please include a brief biography.

Accepted papers may be published as Proceedings in the Michigan Tech Digital Commons. Selected revised papers may be included in a proposal for a published collection. There is no registration fee for attendance. Approval for State Continuing Education Clock Hours (SCECHs) is pending. More details will be available once the program is finalized.

CONTACT INFORMATION
WW1CC - Dr. Patty Sotirin - (906) 487-3264
Department of Humanities Michigan Technological University

Call for contributions to an edited volume:

Early modern books frequently had a frontispiece or an illustrated title page ranging from simple graphical solutions to very elaborate ones. Comparative studies of frontispieces and title pages, however, remain rare, especially studies taking into account the relationship between image and the following text. This volume seeks to fill the gap and provide studies that take this issue of the relationship between frontispiece or title page with the book and the following texts into focus.

This intersections-volume will seek to explore the underlying issue of image-text relationships from a great variety of academic disciplines and approaches. It encourages contributions not only from scholars working in all historical disciplines, but also in engineering and construction, mathematics and astronomy, theology, economy, and many more. This edited volume could explore, but is not limited to, the epistemological function of the images. Other unanswered questions are:

- Apart from the relationship between text and image, what are the relationships between typography, image, and text?
- What iconographic, emblematic or rhetorical traditions have evolved? Were they restricted to certain disciplines or did they follow interdisciplinary norms?
- What was the impact of censorship on title pages and frontispieces?
- What is the relationship between title pages and frontispieces of various editions?
- Who were the artists and engravers and which techniques did they use? Did they have access to the texts or were they given advise? What role did the artists' work for publishers play in their œuvre?
- Did contemporary reflections on theory and practice play a role in the making of frontispieces or title pages?

The examples used to answer these or other questions pertaining to the topic, should incorporate specific interactions between authors, publishers and artists, and address local or national specificities. Contributors are strongly encouraged to consider the illustrated title pages and frontispieces under the aspect of emblematics and allegory in their role as organising principles for the early modern period.

Submission Information
Editors: Gitta Bertram / Nils Büttner / Claus Zittel

Abstracts of up to 300 words can be submitted by 31 May 2018 to gitta.bertram@googlemail.com; nils.buettner@abk-stuttgart.de; claus.zittel@ts.uni-stuttgart.de with decisions made by June 2018.

Full papers will have to be sent by November 2018 with final decisions by January 2019.

Andrew W. Mellon Research Assistant in Modern Materials, Conservation Division

The Art Materials Collection and Study Center was established in 1994. Its mission is to acquire and document the materials used by artists. The collection is composed of paints, varnishes, grounds, mediums, pigments, supports, tools and trade literature produced by art materials manufacturers.

The conservation division of the National Gallery of Art, Washington, DC, is offering a research opportunity to further the goals of the materials collection. This position is supported by the Andrew W. Mellon Foundation. The two-year appointment includes a stipend, health care coverage and other benefits. The researcher will catalogue items in a computerized database, capture digital images of art materials, prepare samples for storage, check the database against the collection for accuracy and process trade brochures to be converted into Portable Document Files that will allow database users to search the collection and view associated documents.

ELIGIBILITY

Candidates should have an undergraduate degree in art history or studio art. The research assistant must have a familiarity with a wide variety of art media and understand their working properties. The research assistant must have knowledge of computer applications, especially database software. Data entry and inventory requires meticulous attention to details. Organization and adherence to established protocols are essential to success in this position. Good writing skills and the ability to work both alone and cooperatively are important. These opportunities are awarded without regard to age, sex, nationality, or race. Finalists who are not United States citizens must provide their own health insurance and proof of mandatory supplemental insurance during the fellowship period.

APPLICATION PROCEDURE

Interested candidates must submit the following materials in English:
• A curriculum vitae or résumé that includes basic biographical information, current and permanent addresses, and telephone numbers
• Transcripts of undergraduate courses of academic study (although official transcripts are preferred, unofficial copies are acceptable)
• A cover letter providing the candidate’s interests and intent in applying for the research position along with an outline of knowledge and use of art materials that may include digital images to support the narrative provided
• Two letters of recommendation from professionals familiar with the candidate’s work (sent directly to the address below)

Electronic documents will be accepted as official application material except for letters of recommendation, which must be original, signed documents sent as surface mail. All electronic media must be in Adobe PDF format. Formal applications and supporting materials must be sent by U.S. Postal Service or an express mail service for delivery to be received at the Gallery no later than May 16, 2018 to:

Michael Skalka, Conservation Administrator
Conservation Division
National Gallery of Art
2000B South Club Drive
Landover, MD 20785
U.S.A.
dcl@nga.gov

Candidates will be informed of the decision of the search committee by June 30, 2018 for a September start date.

https://www.nga.gov/conservation/fellowships.html

The Association of Print Scholars invites thematic proposals for its sponsored session at the 2019 CAA conference to be held in New York, February 13-16, 2019.

The APS-sponsored session may be related to any period, theme, or aspect of print scholarship. We encourage proposals that transcend chronological or geographic boundaries, as well as those that engage current theoretical interests in materialism, archival theory, bibliographic studies, history of ideas, or social history, including feminisms and critical race studies.

If you are interested in chairing the panel, please submit a title and 250-word abstract that describes the subject of your session. Once the theme and chair of the panel are selected, this session will solicit contributors through CAA’s open call. Co-chaired sessions are welcome. Submissions should include a CV and should be sent to info@printscholars.org. Chair or co-chairs must be members in good standing of APS and CAA.

The Department of Art, Art History and Design at the University of Notre Dame invites applications for a visiting assistant teaching professor position in printmaking. Applicants should have a critical understanding of contemporary print media and conversant with theoretical concerns in the medium. The ideal candidate will have experience with the traditional printmaking processes of lithography, relief, intaglio and screen printing, along with emerging digital processes. Knowledge of book arts, paper making, graphic design, installation and/or experimental printmaking are desirable. The facilities include lithography and etching presses, screen printing and paper-making facilities, and a digital printing lab with laser cutter and 3D printing capabilities. We seek outstanding candidates with an accomplished record of exhibition and demonstrated excellence in graduate and undergraduate teaching beyond graduate school. Qualifications required for appointment include the MFA degree. The successful candidate will teach five courses during the 2018-19 academic year.

To Apply: Please send a letter of interest, curriculum vitae, portfolio as a pdf file or website link, and relevant syllabi. Please provide the names of three references.

The School of Art, Architecture + Design (SoAAD) is seeking a dynamic and enthusiastic colleague for a full time, non-tenure track Visiting Assistant Professor of Printmaking with a focus on silkscreen to begin in fall 2018.

SoAAD (https://soaad.indiana.edu/) is dedicated to a faculty composed of diverse scholars and practitioners. The successful candidate will demonstrate the values we try to cultivate in our students: to be curious, collaborative, and adaptable in a global art world. Applicants are sought whose portfolios and research spans studio art and design, and whose teaching will address the broad ranging implications of this intersection in contemporary art. Area of expertise required is printmaking with a primary practice in silkscreen and established skill sets in lithography, as well as digital print, relief, and intaglio. Other skills desirable could include, but are not limited to digital art, book arts, graphic design, installation or fabrication.

We host a BA, BFA and widely recognized Printmaking MFA program. Responsibilities include but are not limited to teaching 5 courses a year, participate in group and individual critiques, assist in maintaining the studio environment, provide service as needed by the area and school, and maintain and pursue professional and academic expertise. Studio space provided when available.

We seek candidates who can provide collegial initiative in a team-based environment. A strong candidate will have demonstrated an ability to work successfully with students, faculty, administration and the community.

Founded in 1820, Indiana University Bloomington is the flagship campus of IU’s eight campuses statewide. Innovation, creativity, and academic freedom are hallmarks of our world-class contributions in research and the arts.

The School of Art, Architecture + Design houses fourteen different areas in art, design, and merchandising. This is where art, merchandising, architecture, and design merge to shape the future of creativity from imagination to implementation.

The expected start date for this position is 8/1/2018.

Review of applications will begin on March 23rd, 2018, and will continue until the position is filled. Interested candidates should review the application requirements and submit their application materials (CV, letter of application, teaching philosophy, artist statement, sample syllabus, one PDF containing 20 images of personal work and relevant image list, one PDF containing 20 images of student work with relevant image list and names of three references and their contact information (including a current address, phone number and e-mail address). Interested candidates should review the application requirements and submit applications via 'External Link' below.

The Visual Arts program at Sarah Lawrence College seeks a candidate to teach Printmaking: a one-year, half-time (two-day), guest appointment with possible renewal beginning Fall 2018. Candidates must be proficient in a variety of printmaking media including intaglio, silkscreen and relief in an environment that practices newly developed nontoxic printmaking methodologies.

Required application materials include cover letter, CV with names of three references and online link to portfolio with 10-20 examples of recent work.

Candidates must have at least two years college teaching experience.