ROUNDTABLE DISCUSSION: Race, Ethnicity and the Visual Arts in 20th and 21st Century Britain–Fri., Nov. 12, 2021, 11 AM Central Time

In ‘Race, Ethnicity and the Visual Arts in 20th and 21st Century Britain’, Richard Hylton, Lecturer in Contemporary Art, SOAS, and Eddie Chambers, David Bruton, Jr. Centennial Professor in Art History, University of Texas at Austin will offer brief comments on recent histories of Black artists in Britain.

Though the documented presence of Black artists in Britain goes back many decades, recent developments in these histories have included marked and noticeable changes in the institutional recognition and embrace of practitioners of the contemporary era. How have artists been caught up in a changing art world seemingly now inclined to embrace certain artists, even as it maintains its wariness and partiality around Black artists’ proximity to ‘race’ and ‘ethnicity’. Further, which art practices have become particularly celebrated?

Two short commentaries, by Hylton and Chambers will open up considerations of these questions, in a panel chaired by Emily Burns, Associate Professor, Auburn University, who recently spent time as a visiting professor at the University of Oxford.

Organized by the University of Texas at Austin’s British, Irish and Empire Studies program, convened by Professor Philippa Levine

Booking: To attend the talk, please register via Zoom.


CFP: APS Printmaking Workshop For Early-Career Curators and Scholars in New Mexico (May 23-27, 2022)

The Association of Print Scholars (APS) is currently accepting applications for the first of two intensive, hands-on printmaking workshops for emerging scholars and curators funded by The Paper Project: Prints and Drawings Curatorship in the 21st Century, an international initiative of the Getty Foundation that supports training and professional development for early- and mid-career curators of prints and drawings.

Based in New Mexico, this five-day workshop will be dedicated to planographic techniques (lithography and monotype) and will be hosted at the renowned Tamarind Institute and the University of New Mexico Art Museum in Albuquerque and 10 Grand Press in Santa Fe. 

A thorough comprehension of various printmaking methods is critical to producing scholarship and exhibitions on these media. Yet, many early-career print curators lack such practical experience as they embark upon their careers due to competing professional and academic demands that make it difficult to enroll in a semester-long printmaking course. Because the intricacies of printmaking are often difficult to grasp from text alone, APS hopes this workshop will provide invaluable technical and material knowledge of the medium that will not only contribute to, but also enhance, a print curator’s and scholar’s understanding of a work’s content, intention, and aesthetic. Our aim is also to prepare participants to better communicate these complex techniques in an accessible language to a general audience and contribute new personal insights to the field.

Ten early-career curators and scholars will be selected to participate in the workshop. Designed as an intensive program, the first two days will consist of hands-on work in lithography at the Tamarind Institute. The third and fourth days will be dedicated to studio work in monotype at 10 Grand Press. The final day will consist of a tour of the works on paper collection at the University of New Mexico Museum of Art.

Applications to the workshop are open to candidates who have a graduate degree (or equivalent experience), which must have been awarded within 10 years. Preference will be given to early-career curatorial professionals (curators, curatorial or research assistants/associates, postdoctoral fellows), although advanced graduate students and independent scholars with a demonstrated interest in printmaking and curatorial practice will also be considered. 

Travel, accommodation, and meal expenses will be fully covered by APS and the Getty Foundation.

To apply, please submit the following documents via an online form:

  • A brief statement (500 max.) describing your research/work and how it would be enriched by this workshop
  • If you have previously participated in programming sponsored by The Paper Project or the Association of Print Scholars, please include a brief description of your experience and how it impacted your scholarship (250 words max.)
  • A current CV
  • Contact information for an academic or professional reference. Please note that one letter of reference must be emailed to, with the subject line “APS Printmaking Workshop 2022 – Reference [Candidate Last Name, First Name]”, by your recommender following the submission of the online application.

All application materials are due by November 6, 2021. To view the full announcement online, click here.

Important notice regarding COVID-19The health and safety of our workshop attendees is our top priority. In accordance with local state law requirements, all those attending the workshop must be fully vaccinated, and guests will be required to share proof of vaccination and photo identification prior to the start of the workshop. Face coverings will also be required in all indoor public spaces. We are monitoring the situation closely and expect to provide additional health and safety protocols closer to the event. Thank you for your cooperation.

Two Fellowship Opportunities at the Menil Drawing Institute

The Menil Drawing Institute is accepting applications for two of its fellowships for the 2022-23 academic year: the Menil Drawing Institute Pre-Doctoral Fellowship and the Morgan-Menil Research Fellowship.

The Menil Drawing Institute Pre-Doctoral Fellowship is open to American and international students whose doctoral research focuses on modern and/or contemporary drawing. The Pre-Doctoral Fellowship is 9 months in length, lasting from September to June each year.

The Morgan-Menil Research Fellowship is awarded jointly by the Menil Collection and the Morgan Library & Museum. This fellowship is 3 to 9 months in length. It is meant to support independent projects on some aspect of the history, theory, interpretation, or cultural meaning of drawing throughout the history of art. It is open to candidates at the pre-doctoral, post-doctoral or mid-career level.

For more details about these opportunities, please use the following link:

Opportunity: Deputy Director of Programming–Brandywine Workshop and Archives. Applications due by Nov. 1, 2021

Brandywine Workshop and Archives 

Located on the Avenue of the Arts in Philadelphia, Pennsylvania 

Job Title: Deputy Director of Programming 

The Board of Directors of the Brandywine Workshop and Archives seek a Deputy  Director of Programming. This is a unique opportunity to grow an organization with a  strong reputation and deep commitment to artist development and the printmaking  process. 

About the Organization 

Founded in 1972 by Allan Edmunds, the Brandywine Workshop and Archives (BWA)  has grown from a group of successful artists, art professors and teachers supporting the  production of limited edition original fine art prints, training and mentoring young artists,  to an internationally known organization dedicated to professional development of  artists and connecting communities across the world through the artistic practice and  creative outcomes of printmaking. 

Incorporated as a 501(c)(3) in 1974, BWA has a long history of artist residencies,  exhibitions, and educational programming. A diversity-driven cultural organization that  produces and shares art to connect and inspire, BWA builds bridges among global  communities. Today, BWA has expanded its efforts to include not only original fine art  prints, but artist documentaries, 16 satellite collections, and the creation of – a  free virtual database of culturally diverse art and artists. BWA is recognized for its  education programs and for its work with both mainstream and under-represented  communities. 

About the Position 

Reporting to the Executive Director, The Deputy Director of Programming is a new  position that will be responsible for oversight of all curatorial and educational activities  and serve as a primary point of contact for full-time, part-time, and contract staff. The  Deputy Director of Programming will operate as senior management, acting as a key  partner to the Executive Director in shaping BWA’s artistic vision and helping to develop  the organizational structure to support it. 

The Deputy Director of Programming will have a track record of organizational  management as well as experience and passion for working with artists and arts  educators. They will be responsible for maintaining current artistic and educational  partnerships, while also developing new opportunities for collaboration locally,  nationally, and internationally.

As part of its succession planning, BWA has identified this position as a developmental  opportunity. The ideal candidate will have the opportunity for swift advancement into the  Executive Director role – should the candidate be a good fit for the organization. 

Essential Functions & Responsibilities 

● Curate exhibitions, artist commissions, and related projects and publications, with  a specific focus on amplifying current and historically marginalized voices ● Coordinate and manage the Artist Residency program (a support staff of  coordinator and cohort of master printers does the actual work) 

● Manage and expand the Satellite Collections program through communications  with partners. All proposed new collections involving donated artworks must be  approved prior by the Board of Directors through recommendation of its Collections  Committee 

● Work with education and program staff to develop thoughtful and innovative  exhibition and collections programming 

● Manage all full-time and part- time staff, consultants and contracted employees,  and interns 

● Oversee management of the Brandywine Permanent Collection ● Work with Executive Director to develop annual departmental goals and budgets ● Work with Executive Director on fundraising and donor stewardship ● Identify and manage strategic institutional partnerships to extend BWA’s audience  and reach 


● Bachelor’s degree in art history, fine art, arts management, museum management,  business management, or a related field – or equivalent experience ● At least 5 years of progressively responsible arts management experience  ● Demonstrated organizational management skills 

● Strong written and interpersonal skills 

● Ability to successfully develop and manage departmental and project budgets ● Collaborative and open management style with success in managing teams and  partnerships 

● A track record of producing exhibitions and/or successful event planning ● Entry-level experience in fundraising and donor stewardship 

Preferred Qualifications 

● Background and/or interest in printmaking 

● Master’s/PhD in art history, fine art, arts management, museum management, or a  related field

● Proven experience providing strategic leadership and the implementation of a vision  with organizational priorities 

● Demonstrated strong supervisory and team-building skills, including the ability to  recruit, empower, develop, and retain a strong staff. Recognized as providing and  setting clear priorities, as well as building a collaborative, trusting, and transparent  work culture 


Starting annual salary is $70,000. 

Application Instructions 

Please submit a one-page cover letter and resume. Please direct any questions to  Carolyn Lowe, Chair, Search Committee at 

Hiring Statement 

BWA has a longstanding tradition of centering the experiences of marginalized people—including people of color, women, people with disabilities, and LGBTQ+  people. BWA leadership is committed to continuing that work. Therefore, we strongly  encourage applications from people with these identities. 

Deadline to Apply: Monday, November 1, 2021 

Start Date: Monday, January 3, 2022 (preferred)

USC Cinema and Media Studies 2021 Graduate Student Conference [Oct. 21-22, 28-29]–

First Forum will be held virtually and the program schedule has panels and events spread out over two weeks on October 21, 22, 28, and 29. We have an exciting and dynamic set of speakers including our keynote speaker Dr. Bo Ruberg, an Associate Professor of Film and Media Studies at UC Irvine. Additionally, we will have a roundtable discussion featuring Dr. Erin Y. Huang, Dr. Camilla Fojas, and Dr. Ayesha Omer. You can find a full conference schedule on our website and through the QR code on the attached flyer. We look forward to seeing you there!

CFP: “In Situ” for Art Institute Review–deadline Mon., Oct. 11, 2021


Issue 3: In Situ (September 2022)

Deadline for proposals: Monday, October 11, 2021

This issue of the Art Institute Review addresses the concept of in situ—a natural, original, or existing position or place. The notion relates to basic questions art historians, conservators, curators, and other cultural heritage professionals ask about all works of art: Where were they installed or exhibited? How were they experienced in their original time and location? To what extent did these initial contexts orient and shape artistic intent? Location and place may change over time. What happens when the physical context of a work of art is interrupted or upended? What are the stakes surrounding its placement and/or displacement? Research and analysis are themselves informed by position and place. How are art historical, conservation, and material science methods shaped in situ? How must they change when addressing a work of art that has been removed from its original context(s)?

Such questions regarding the past, present, and future of artworks have always been important in art history and related disciplines, but they have taken on even greater weight in our particular moment. What does it mean to recontextualize works in new spaces? What happens when we privilege one point in an artwork’s history over another—or when we deprioritize or disregard that history? How can digital tools and technologies help us better understand, question, and critique the “place” of art?

The third issue of the Art Institute Review invites you to consider, interrogate, and visualize the concept of in situ, understood broadly. We welcome topics from an expansive geographical, temporal, and theoretical range that could include: archaeological investigation and research, theoretical and practical projects of restitution and decolonization; community-based conservation; site-specific artworks and interventions, Gesamtkunstwerk, and land art projects; digital and material re-creations of artistic sites and architectural settings; and more. We especially welcome proposals focused on historically underrepresented objects or narratives, proposals from emerging scholars, and proposals that optimize the digital platform. Not only is the digital realm itself a place ripe for critical exploration through the theme, but it also supports innovative technological experiments and creative realizations of historic, contemporary, and imagined spaces.

This issue is co-edited by Elizabeth McGoey, Associate Curator of Arts of the Americas, the Art Institute of Chicago, and Jeanne Marie Teutonico, Associate Director of Strategic Initiatives and Publications at the Getty Conservation Institute.

Submit proposals here.

For more information on what we’re looking for, visit the journal website, here.

We aim to review proposals and notify the authors of accepted proposals within approximately one month of receipt. Full manuscript is due about two months after notification.

Amalia Amaki at the Photography Network Virtual Symposium [October 7-9, 2021]

Artist and scholar Amalia Amaki will be our Keynote for “The Material and the Virtual in Photographic Histories” (October 7-9, 2021). The First Symposium of the Photography Network will be held virtually, jointly hosted by the Photography Network and Folkwang University of the Arts, Essen. We are looking forward to our conversation with her on Thursday, October 7 at 4:00-4:45 pm UTC (12:00–12:45 pm EST) about her impressive art range and her ability to stretch the limits of photography’s materiality. The three-day symposium will pair previously recorded presentations (now available to registered attendees) with live roundtable discussions and Q&A sessions on October 7th, 8th, and 9th.

Registration is open and the presentation videos are live for the First Symposium of the Photography Network (October 7–9, 2021), a virtual event. Register nowRegistration for this free event is now open. Symposium attendees are required to be current Photography Network members in good standing. Annual membership is $20 (student/unaffiliated), $40 (Affiliated), or $100 (Sustaining Member). Please visit the Photography Network’s website for more information on how to join. Once a member, link to the live sessions under the Account feature by clicking “Symposium_live (affiliated).”

Assistant Professor/Associate Professor, Tenure-track in Department of Architecture, University of Buffalo (State University of New York). Applications due by Sept. 30, 2021

Info here.

Director of Visitor Experience, MASSMoCA–Apply now.

Info is here.

Assistant Professor, Tenure-track, Modern and Contemporary Arts of the Americas, Department of the History of Art, University of Michigan. Applications due by Nov. 1, 2021

Job Description:

The Department of the History of Art at the University of Michigan invites applications for a full-time, tenure-track assistant professor position in the arts of the Americas, modern and contemporary, beginning in September 2022. Scholars working in American art and/or visual and material cultures, with an area of specialization in African American, African Diaspora, Latinx, Asian American, and/or Indigenous cultures are especially welcome. We seek to complement current departmental strengths with a candidate committed to race and gender theory, museum studies, decolonization, and/or settler colonial studies.

The successful applicant will be asked to develop a range of undergraduate and graduate courses, to supervise doctoral dissertations, and to participate actively in the life of the department. The appointee will be welcomed into a large university community that encourages interdisciplinary dialogue and is committed to the core values of diversity, equity, and inclusion. Applicants should provide a cover letter, CV, statement of current and future research plans, statement of teaching philosophy and experience, personal statement demonstrating engagement with issues of equity (described in greater detail below), evidence of teaching excellence, and a writing sample.

The personal statement and diversity commitment should include your demonstrated commitment to diversity, equity, and inclusion through scholarship/research, and/or teaching/mentoring, and/or service/engagement. There may be some overlap with your research proposal and teaching statements (1-3 pages).

Application materials, personal statement and diversity commitment, and three letters of reference should be uploaded via Interfolio ( The deadline for submission is November 1, 2021. A PhD is required prior to beginning this university year appointment. If you have questions regarding the position, please contact Audra Wilson (Executive Secretary, U-M Department of the History of Art) at

The University of Michigan, is an equal opportunity/affirmative action employer and is supportive of the needs of dual career couples. Women and minority candidates and scholars demonstrably committed to working with diverse student populations are encouraged to apply.

We acknowledge that the University of Michigan, named for Michigami, the world’s largest freshwater system, sits on land stewarded by Niswi Ishkodewan Anishinaabeg–the Three Fires People, who are the Ojibwe, Odawa, and Potawatomi–along with their neighbors the Seneca, Delaware, Shawnee, and Wyandot nations. 

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