Session will present: In-Person
Affiliated Society or Committee Name: Association of Print Scholars
Anastasia Belyaeva, University of Geneva and Roman Grigoryev, Hebrew University at Jerusalem


This panel seeks to investigate the brutality of the printmaking process. Techniques such as engraving, drypoint, or woodcut, imply a battle with the matter by altering the matrix with sharp tools. Chemical processes in etching entail the danger of explosions and burns. Making changes on a metal plate requires burnishing out and leveling with a hammer. Pressure is required to drag a squeegee when making a screenprint. Force is required to manipulate a press. The very terminology of printmaking is aggressive: plates cut, scratched, impressions pulled, matrices cancelled and destroyed.
This physical intensity on the edge of violence affects the working process and the work. Rembrandt’s "The Three Crosses", for example, embodies both the aggressive treatment of the plate and the atmosphere of the Golgotha events. Or, Gaston Blachard’s analysis of Albert Flocon’s engravings led to his theory of printmaking as "combat anthropocosmique." Taller de Gráfica Popular’s trademark of hands cutting a matrix with knifes refers both to their preference for linocut and woodcut techniques and the group’s self-representation as armed fighters.

The panel invites papers that examine the impact that the brutality of printmaking methods have on the artists, the aesthetics, and the poetics, and on their perception by the public and scholars. We welcome papers studying the connection between violence and printmaking across all cultures and periods, and across a variety of approaches, including, but not limited to, material, conceptual, and methodological, both through a theoretical lens and through the lens of the creative practice.

***Submissions due to session chairs by August 31, 2023

The Department of Art & Art History at Dickinson College seeks a Professor of 2D Studio Art at the assistant level for a full-time, tenure track appointment starting in the 2021-22 academic year. Please note, this position is currently pending funding and there is a possibility that the search might be postponed. The position has a focus in drawing and painting and will also require the ability to teach additional courses in the area of printmaking or digital process (potentially both depending on the strengths of the successful candidate). Additionally, there is opportunity to develop courses in other areas of interest related to 2D processes. The position will also share in the instruction of Senior and First-Year Seminars, which are taught on rotating schedules among Department faculty. Candidates for this position should have the desire to be part of a liberal arts institution that values teaching, scholarship, and shared service among faculty. The particular model of teaching at Dickinson encourages curricular connection across disciplines, urges students to explore issues related to sustainability, community, and social justice as inherent responsibilities of student learning, and prepares students to lead rich and fulfilling lives of engaged global citizenship, working for the common good. Studio art classes at Dickinson stress skill, process, experimentation, and contextual concerns towards the development of a meaningful creative practice. The search committee is committed to building a faculty that reflects our diverse student population in the major, as well as non-major students who represent a large percentage of our studio art and art history courses.

Dickinson College is a highly selective four-year, independent liberal arts college with 2300 students. It is located 20 minutes west of Harrisburg and is a two-hour drive from Baltimore, Washington DC and Philadelphia. The Department of Art & Art History is a combined studio art and art history department with 4 tenured/tenure track and 1 full-time lecturer in studio, and 4 tenured/tenure track faculty and 1 adjunct in art history. Together, the Department fosters a rigorous, critical investigation through active processes of learning in which students connect historical discourse with an engagement of art from multiple perspectives. The Department has excellent studio facilities for teaching and private studios for faculty.

Primary responsibilities include teaching a five-course load per academic year, at all levels, to a mix of majors and non-majors. Course load will include drawing and painting, including at least one section of drawing at the intro-level (focus on observational drawing) per academic year. The position requires the ability to offer additional 2D courses beyond drawing and painting, in either printmaking or digital process. These additional courses can be developed by the candidate based on area of strength, and reflective of curricular demand. Additionally, full-time faculty members rotate the responsibility of teaching a senior studio art seminar with students working across a range of mediums within a contemporary context. Additional programmatic responsibilities include participating in critiques of senior studio art majors, sharing the coordination of visiting artists, and advising students. After year-two, there will be service expectations at the all college level, including the advising of majors and undeclared students, and possible committee service. Upon tenure, service responsibilities will also include department chairing expectations (a three-year rotation among all tenured faculty members in the Department of Art & Art History).

Please visit the 'External Link' below for more information, including a list of required qualifications and application instructions.

An opportunity shared on behalf of Amelia Goerlitz, Chair of Academic Programs at the Smithsonian American Art Museum (SAAM):

The Smithsonian American Art Museum (SAAM) and its Renwick Gallery invite applications for research fellowships in the art and visual culture of the United States. Fellowships are residential and support full-time independent and dissertation research. SAAM is home to one of the largest and most inclusive collections of American art in the world. Housed in a National Historic Landmark building—shared with the National Portrait Gallery and the Archives of American Art—the museum is a short walk from other Smithsonian museums and libraries, the Library of Congress, the National Archives, and the National Gallery of Art. Regular lunchtime seminars, workshops, and symposia organized by SAAM’s Research and Scholars Center provide a forum for lively scholarly exchange and professional advancement.

The stipend for a one-year fellowship is $40,000 for predoctoral scholars and $55,000 for postdoctoral and senior scholars, with an allowance of up to $4,000 available for short research trips. Additional allowances may be provided to help with temporary relocation and the cost of health insurance. Senior-level recipients of the Terra Foundation Fellowships are eligible for an augmented stipend of $60,000 for the full year. The standard term of residency is twelve months, but terms as short as three months are available with prorated stipends. All fellowships must take place between June 1, 2021, and August 31, 2022. The Smithsonian Office of International Relations will assist with arranging J-1 exchange visas for fellowship recipients who require them.

Application Deadline: November 1, 2020

Please visit the 'External Link' below for more information and to access the application.

The Mexican Revolution (1910-1920) was one of the great social upheavals of the early twentieth century and a remarkable artistic outpouring ensued during the post-revolutionary decades. Printmaking flourished as artists addressed what happened to the ideals of the Revolution. Imagery attacked fascism and imperialism, promoted labor and indigenous rights, and expressed a renewed interest in cultural traditions. The impact of the father of modern Mexican printmaking, Jose Guadalupe Posada (1852-1913), is evident in works that critically interpret historic events, especially through lively skeletons that dramatize social ills. Artists made posters for the masses in Mexico, as well as prints to satisfy a growing audience for “Mexican art” in the United States.

The Jordan Schnitzer Museum of Art (JSMA) and the Portland Art Museum (PAM) are co-organizing Nuestra imagen actual | Our Present Image: Mexico and the Graphic Arts 1925-1956. Co-curated by Cheryl Hartup, Curator of Academic Programs and Latin American and Caribbean Art at the JSMA, and Mary Weaver Chapin, Curator of Prints and Drawings at PAM, the exhibition aims to deepen and broaden the understanding and appreciation of the graphic art of post-revolutionary Mexico, a landmark in the history of twentieth-century printmaking and modern art.

The exhibition presents sixty-four lithographs, woodcuts, and wood engravings by twenty-two artists including Elizabeth Catlett, Leopoldo Méndez, José Clemente Orozco, Diego Rivera, David Alfaro Siqueiros, Rufino Tamayo, Mariana Yampolsky, and other members of Mexico’s world famous Taller de Gráfica Popular or People’s Graphic Workshop (est. 1937). The majority of the prints hail from PAM’s exceptional print collection including Siqueiros’ Nuestra imagen actual, a timeless and universal image of subjugation and torture that inspired the title of the exhibition. Several important loans from private collections, the Seattle Art Museum, and University of Oregon Libraries’ Special Collections and University Archives will augment PAM’s rich collection.

Disaster, understood broadly and in its many forms, elicits artistic production in response—often under the guise of catharsis, historical record, utopian/dystopian futures, or a mode of resistance. In the context of the United States, artistic response in the midst or wake of crisis is now recognized as crucial at a governmental level. In 2017 the U.S. Department of Arts and Culture produced a guide entitled ​“Art Became the Oxygen: An Artistic Response Guide” arguing that creative response to natural disasters and social emergencies is imperative in proposing the possibility of futures. Amelia Brown writes about contemporary “​emergency arts,​” or the combination of artistic practice, community development, and emergency management. Historic examples are geographically, culturally, and materially diverse; they range from Japan’s many Buddhist objects created in anticipation of a spiritual crisis in the mid-eleventh century to the work of Käthe Kollwitz, who graphically depicted scenes representing the horrors of modern warfare in World War I and its aftermath. These works, among others, remain moving and relevant to this day.

This symposium seeks papers that deal with art in response to disaster and/or subsequent responses from a variety of global and period contexts. Topics include but are not limited to research on artistic response, relief, and/or resistance, such as:

– Apocalyptic visions or imaginings
– Ecological or natural disaster (weather events, climate change, epidemics)
– Man-made disaster (war, oppressive regimes/legislature, nuclear crisis)
– Migrations, diasporas, land dispossession, precarity
– Ongoing social disaster (racism, violence, displacement)
– Personal/interpersonal trauma and disasterApplicants should submit a paper title, an abstract of no more than 300 words, and a current CV as a single PDF to ​umichsymposium@gmail.com​.

The deadline for submissions is Saturday, March 15, 2020.

Selected speakers will be notified on Monday, March 30, 2020, and are expected to accept or decline the offer within one week of notification. Papers should be 20 minutes in length and will be followed by a question and answer session.

International Print Center New York is pleased to announce its first two-person exhibition, Paper Borders, which brings into dialogue the works of Emma Nishimura (b. 1982, Toronto) and Tahir Carl Karmali (b. 1987, Nairobi), artists who share a commitment to unearthing historical and ongoing stories of migration, transgenerational memory, and xenophobia. Using the materiality of print and handmade paper, the two- and threedimensional works in this exhibition speak to cross-cultural and deeply embedded global struggles. Here, the precarity of paper becomes a metaphor for the precarity of place.

This exhibition is the first in-depth New York presentation of Nishimura’s work, which centers on the Japanese Canadian Internment during World War II. Through a practice rooted in her own family history, inherited narratives, and archival research, Nishimura uses etching, photo-transfer, hand-papermaking, and sculpture to literally and symbolically wrap stories, images, and memories of the internment into new forms. In her prominent work An Archive of Rememory (2016–ongoing) she shapes these stories into traditional Japanese bundles called furoshiki. Through an installation of hundreds of paper furoshiki, as well as a series of textbased etchings, this little-known piece of history is brought to light.

A cross-disciplinary artist, Karmali creates large-scale paper works and installations that engage materials and processes surrounding issues of colonization, nationality, and authenticity. Karmali’s handmade paper incorporates government-issued documents that trace family history—from his paternal family’s paperwork showing their change in citizenship after Kenya's 1963 independence from Britain, to his own application for a visa to relocate from Nairobi to New York. Dried on rusted metal plates, Karmali’s paper sheets absorb abstract rust marks and folds that reference the land. With the addition of photo-transfer and collaged elements, these works unfold a layered, material record of lived experience.

The exhibition title reflects the dualities within the words ‘paper’ and ‘borders.’ Paper acts as an apparatus for mark-making and sculptural experimentation, or as a pass validating identity and allowing movement from one territory to another; while borders can be hard lines between territories, or fragile and shifting.

PUBLICATION
The accompanying publication will feature an essay on the dialogue between the works of both artists by Kelly Baum, Cynthia Hazem Polsky and Leon Polsky Curator of Contemporary Art, The Metropolitan Museum of Art, along with artist biographies, a reading list, color illustrations, and studio photographs.

PUBLIC PROGRAMS
Print Week (October 20–27), Date and Time TBA: History as Matrix, a conversation with Emma Nishimura and Tahir Carl Karmali moderated by Regine Basha, Senior Program Associate, Civitella Ranieri Foundation.

Saturday, December 7, 1–4 PM: Drop-In Papermaking Workshop with Tahir Carl Karmali.

Please visit the 'External Link' for more information about the artists.

The Department of Art at Jacksonville State University invites applications for an Assistant Professor of Printmaking (tenure track) to begin August 2020. The successful candidate will teach three undergraduate courses per semester in Printmaking and Foundations (Drawing and Design) and should have a strong background in Intaglio and Relief Printmaking with a demonstrated record of collaborations and exhibitions. Additionally, an active creative record and evidence of university service will be expected. The successful candidate will also be expected to interact and collaborate with the faculty members and students (undergraduate and graduate) in the Department of Art. The Assistant Professor in the Department of Art provides educational services to traditional and non-traditional students during the day or evening; teaches graduate- and undergraduate-level courses in Art along with graduate-level research and advanced data analysis; and may be required to teach courses within his/her concentration area on campus, off campus, online, and, possibly via videoconferencing depending on need of location.

Essential Functions:
-Assesses student’s abilities as related to desired educational goals and objectives, in order to maximize student achievement.
-Serves as advisor and mentor for students.
-Plans and employs a variety of appropriate instructional/learning strategies and activities which are compatible with the physical facility but serves the needs and capabilities of the students.
-Manages the behaviors of learners in the classroom and participates in the management of student behavior in other parts of the campus, in order to provide a general environment conducive to the learning process.
-Communicates continually to students (either in writing or verbally) in regards to instructional expectations, student progress or lack of progress.
-Responsible for recording students’ attendance and keeps attendance registers, according to JSU policy.
-Actively participates in and works with university personnel in planning effective instructional goals, objectives, methods and curriculum.
-Exhibits a commitment and ability to conduct scholarly activities and engage in professional, university, and community service.
-Participates in professional growth and development activities including staff meetings, and in-service and staff development activities as required or assigned.
-Assists in the documentation of student progress by efficiently maintaining and submitting appropriate records and reports.
-Ensures that the classroom or instructional environment is healthful and safe and generally conducive to learning.
-Agrees to participate in extra-curricular activities as requested by the head of the department or Dean of the school.
-Participates and belongs to educational/professional associations (within concentration) and participates in their activities.
-Fulfill faculty responsibilities as stated by institutional and departmental policy and by administration.
-Serves on departmental and university committees.
-Performs other duties as assigned by the department head.

Required Minimum Qualifications:
MFA in Printmaking or equivalent

Preferred Qualifications:
-A strong background in Intaglio and relief printmaking
-Demonstrated record of collaborations and exhibitions
-Ability to teach in Art Foundation Courses

Requested Start Date:
August 13, 2020

Please visit the 'External Link' below for more information and to apply.

Occasioned by a move into a newly constructed state-of-the-art museum building on the University of Nevada, Reno's main campus, this exhibition introduces viewers to an incredible collection of etchings, many of which have not been seen publicly for more than 30 years.
This exhibition will be the first one on campus to ever exhibit the entirety of the University's Piranesi holdings. Between the two collections, held by Special Collections and The Lilley, nearly the entire series of Roman "vedute," or views, will be available for study and review in the Museum's galleries. Foregrounding scholarly depth and scope, "Piranesi and the Eternal City" offers visitors to the museum a rare opportunity to study a representative sample of the artist's work, gain a deeper understanding of the technical and historical contexts of the work, and cultivate a deeper sense of wonder inspired by the mastery of the print work on view.

This autumn, Tate Britain presents the largest survey of work by William Blake (1757-1827) in the UK for a generation. A visionary painter, printmaker and poet, Blake created some of the most iconic images in the history of British art and has remained an inspiration to artists, musicians, writers and performers worldwide for over two centuries. This ambitious exhibition brings together over 300 remarkable and rarely seen works and rediscover Blake as a visual artist for the 21st century.

Tate Britain reimagines the artist’s work as he intended it to be experienced. Blake’s art was a product of his tumultuous times, with revolution, war and progressive politics acting as the crucible of his unique imagination, yet he struggled to be understood and appreciated during his life. Now renowned as a poet, Blake also had grand ambitions as a visual artist and envisioned vast frescos that were never realised. For the first time, The Spiritual Form of Nelson Guiding Leviathan c.1805-9 and The Spiritual Form of Pitt Guiding Behemoth c.1805 are digitally enlarged and projected onto the gallery wall on the huge scale that Blake imagined. The original artworks are displayed nearby in a restaging of Blake’s ill-fated exhibition of 1809, the artist’s only significant attempt to create a public reputation for himself as a painter. Tate recreates the domestic room above his family hosiery shop in which the show was held, allowing visitors to encounter the paintings exactly as people did in 1809.

The exhibition provides a vivid biographical framework in which to consider Blake’s life and work. There is a focus on London, the city in which he was born and lived for most of his life. The burgeoning metropolis was a constant inspiration for the artist, offering an environment in which harsh realities and pure imagination were woven together. His creative freedom was also dependent on the unwavering support of those closest to him, his friends, family and patrons. Tate highlights the vital presence of his wife Catherine who offered both practical assistance and became an unacknowledged hand in the production of his engravings and illuminated books. The exhibition showcases a series of illustrations to Pilgrim's Progress 1824-27 and a copy of the book The complaint, and the consolation Night Thoughts 1797, now thought to be coloured by Catherine.

Blake was a staunch defender of the fundamental role of art in society and the importance of artistic freedom. Shaped by his personal struggles in a period of political terror and oppression, his technical innovation, and his political commitment, these beliefs have inspired the generations that followed and remain pertinent today. Tate Britain’s exhibition opend with Albion Rose c.1793, an exuberant visualisation of the mythical founding of Britain, created in contrast to the commercialisation, austerity and crass populism of the times. A section of the exhibition is also be dedicated to his illuminated books such as Songs of Innocence and of Experience 1794, his central achievement as a radical poet.

Additional highlights include a selection of works from the Royal Collection and some of his best-known paintings including Newton 1795-c.1805 and Ghost of a Flea c.1819-20. This intricate work was inspired by a séance-induced vision and will be shown alongside a rarely seen preliminary sketch. The exhibition closes with The Ancient of Days 1827, a frontispiece for an edition of Europe: A Prophecy, completed only days before the artist’s death.

William Blake is curated by Martin Myrone, Lead Curator pre-1800 British Art, and Amy Concannon, Assistant Curator, British Art 1790-1850. The exhibition is accompanied by a catalogue from Tate Publishing and a programme of talks and events in the gallery.