This session will interrogate the interstices of printmaking across geographies and time periods. David Landau and Peter Parshall’s foundational text, The Renaissance Print, 1470–1550, suggests that “printmaking developed early on as a trade capable of eluding conventional practices and consequently attracting artisans with the initiative to work in the shadowy interstices that lay between the guilds and local governments” (12: 1994). From this early history of the medium to the present, printmaking has had an ability to produce and thrive within interstitial spaces both for working artists and in the art historical canon. Interstices are also essential to printmaking’s technical processes. For example, in aquatint, the interstices between resin grains that the acid etches into create the print's design. Yet, scholars and collectors have tended to overlook interstitial objects that fall between the categorical boundaries of intaglio, relief, planographic, and stencil printing.
This session invites papers that examine printmaking and its interstices across a wide range of visual and material cultural practices. Examples of welcome topics include but are not limited to the following: gaps in canonical art historical narratives; liminal spaces of making, such as Mabel Dwight’s movement between her home and studio while creating lithographs; physical intervals between printed marks, such as cross-hatching used to depict the Black body in Phillis Wheatley’s engraved frontispiece to Poems on Various Subjects, Religious and Moral (1773); and hybrid works that push against conventional print taxonomies such as Giovanni Benedetto Castiglione’s seventeenth-century monotypes and Pati Hill’s xerographs from the 1970s–80s.

CO-CHAIRS:
Sarah Nuessle Bane, University of California, Santa Barbara - sbane@ucsb.edu
Michelle Donnelly, Yale University - michelle.donnelly@yale.edu

HOW TO APPLY:
To submit, gather the following and send via email to the chair(s) listed before Thursday, September 16, 2021.
Completed proposal form (available on CAA site).
A shortened CV (close to 2 pages).
[Optional] Documentation of work when appropriate, limited to five images as a single PDF, especially for sessions in which artists might discuss their own practice.

Upon acceptance, presenters must join or bring their CAA memberships up to date, (you may apply with a non-member ID). Only CAA members can present in a Session.

For more information please visit the external link below.