APS Talks, Events, & Panels

This page archives in-person and virtual programming by APS including panels produced in partnership with IFPDA Fine Art Print Fair.

IFPDA Print Month 2025: The Goncourt Brothers and the Language of Etching: Prints, Process, Prose. (15 October 2025)

This panel focused on the significant and often surprising links between printmaking and literature during the nineteenth-century French etching revival. This lecture offered a fresh perspective on the revival through the work of Edmond and Jules de Goncourt: novelists, diarists, art historians, collectors, and etchers. Identifying new intersections between print and prose in the Goncourts’ work, this presentation explored pressing questions about the purpose and value of creative labor in nineteenth-century France.

Rachel Skokowski, Director of Galleries and Curator, Janet Turner Print Museum, California State University, Chico and author of “The Goncourt Brothers and the Language of Etching” (Oxford University Press, 2025)

Laurel Garber is the Park Family Associate Curator of Prints and Drawings at the Philadelphia Museum of Art and a specialist in nineteenth-century French graphic art.

IFPDA Print Month 2025: Pushing the Screen: Brand X Editions and the Art of Innovation. (8 October 2025)

Moderated by Christina Taylor, this conversation brought together master printer Robert Blanton, lead chromist Tamsin Doherty, and printer James Miller to explore the technical and artistic innovations that have defined Brand X Editions. Founded in 1979, the New York–based studio has expanded the possibilities of screenprinting—advancing chromist-driven color separations and extending the medium across unconventional supports. The conversation discussed the studio’s close collaborations with artists including Mickalene Thomas, Rashid Johnson, and Emily Mae Smith. Timed to the Philadelphia Museum of Art exhibition “Brand X Editions: Innovation in Screenprinting” (on view through November 16, 2025), the program traced how Brand X has reimagined the medium over four decades.

Christina Taylor is the Conservator of Works of Art on Paper at the Philadelphia Museum of Art. She is a graduate of Buffalo State College’s Art Conservation Program, where she earned her MA and CAS in Art Conservation in 2015. She has held conservation positions at the Harvard Art Museums, Museum of Fine Arts, Houston, the National Gallery of Art, and the Art Institute of Chicago. She earned her BFA in printmaking from Kutztown University and continues her study of the processes and history of printmaking, including developing and teaching hands-on workshops.

IFPDA Print Month 2025: Artist Talk | Carving Out Time; LaToya M. Hobbs in Conversation with Elizabeth Rudy (29 March 2025)

LaToya M. Hobbs is a Baltimore-based artist, educator, and a founding member of the Black Women of Print collective, whose mixed media works explore the “matrix as art object.” The talk explored Hobbs’s printmaking practice alongside themes of labor, identity, and the translation of intimacy on a grand scale.

Elizabeth Rudy, Carl A. Weyerhaeuser Curator of Prints in the Division of European and American Art at Harvard Art Museums, is the editor of the upcoming publication LaToya M. Hobbs: Carving Out Time (2025) and the curator of LaToya M. Hobbs: It’s Time (Harvard Art Museums, 2024).

This program was presented by the Association of Print Scholars, and hosted by the IFPDA Print Fair 2025 on-site at Park Avenue Armory.

IFPDA Print Month 2024: Artists and Printer Collaborations with Marina Ancona, Felix Harlan, and Andrew Mockler in conversation with Britany Salsbury (15 October 2024)

How do collaborations between artists and presses impact their editions? Moderated by Britany Salsbury, curator of Nicole Eisenman: A Decade of Printing (Cleveland Museum of Art, 2022), and featuring Felix Harlan, Marina Ancona, and Andrew Mockler, this panel took the exhibition as a starting point to discuss intricacies in artist-printer partnerships.

This program was presented by the Association of Print Scholars for Print Month 2024, hosted by the IFPDA Print Fair.

IFPDA Print Month 2024: Print Residencies: A conversation about artist’s residencies and printmaking, with a focus on the West Coast (10 October 2024)

Moderated by Rachel Skokowski, this panel spotlit printmaking residencies on the West Coast. The panel featured Leyla Jamil Rzayeva at Kala Art Institute in Berkeley, Macy Chadwick at In Cahoots Residency in Sonoma County, and Julia D’Amario at the Jordan Schnitzer Printmaking Residency in Oregon in conversation about how these artist residencies fuel the creative life cycle for printmakers.

This program was presented by the Association of Print Scholars for Print Month 2024, hosted by the IFPDA Print Fair.

IFPDA Print Month 2023: Contemporary Printmaking in South Africa (11 October 2023)

A conversation and virtual studio visits moderated by Dr. Rebecca Szantyr (New York Public Library) with The Artists’ Press (founded by Mark Attwood and specializing in lithographs) and Artist Proof Studio (Johannesburg-based printing press and non-profit that offers workshops and training).

This program is presented by the Association of Print Scholars for Print Month 2023, hosted by the IFPDA Print Fair.

IFPDA Print Month 2023: Indigenous Australian Printmaking: The State of Australian Aboriginal Printmaking (4 October 2023)

Join Dr. Rachel Skokowski (Janet Turner Print Museum) for a conversation with art historian Jessica Hutchens and printmaker Brett Nannup for a conversation on Australian Aboriginal Printmaking in the 21st century. Jessica Hutchens, Art Historian and a Palyku woman; Fellow, Kluge-Ruhe Aboriginal Art Collection Brett Nannup, Noongar printmaker based in Perth, Australia This program is presented by the Association of Print Scholars for Print Month 2023, hosted by the IFPDA Print Fair.

IFPDA Print Month 2022: Celebrating Three Decades at Crow’s Shadow and Looking to the Future of Native American Printmaking ( 14 October 2022)

Founded in 1992 by artists James Lavadour and Phillip Cash Cash, Crow’s Shadow Institute of the Arts (CSIA) has become one of the leading art centers for Native American printmaking. Its world-class print studio offers a prestigious residency program that has hosted artists such as Raven Chacon, Jeffrey Gibson, Wendy Red Star, James Luna, Kay WalkingStick, and Marie Watt, among others, and whose editions are held in museum collections such as the Portland Art Museum, Wellin Museum of Art, Whitney Museum of American Art, Library of Congress, and Museum of Fine Arts, Boston. Over the last 30 years, in addition to its work in printmaking, CSIA has evolved its mission to boast an impressive array of educational, social, and economic development programs, including community-driven workshops for Native and Indigenous Traditional Arts such as basket making, beading, and the crafting of horse regalia. In many ways, Crow’s Shadow provides a platform for Native artists to connect with the mainstream art world and for non-Native participants an avenue for cross-cultural understanding.

– Karl Davis, former Executive Director of Crow’s Shadow Institute of the Arts
– Judith Baumann, master printer
– Rebecca J. Dobkins, curator at Hallie Ford Museum of Art Professor
– Martin Beagle, University of Oklahoma’s School of Visual Arts

This program was presented by the Association of Print Scholars for Print Month 2022, hosted by the IFPDA Print Fair.

IFPDA Print Month 2022: Kinngait Studios: Six Decades of Printmaking and Prosperity in the Canadian Arctic (7 October 2022)

Founded in 1959, Kinngait Studios is the longest running fine art printmaking facility in Canada. Located in Kinngait (formerly Cape Dorset) in the Territory of Nunavut, a Canadian Arctic community of 1,400 residents, the studios have published an impressive annual collection of prints by more than five generations of Inuit artists. Lithographs, stonecuts, etchings, engraving, and drawings by artists such as Shuvinai Ashoona, Kenojuak Ashevak, and Pitseolak Ashoona, among many others, are internationally renowned and sought after by museums and collectors. A uniquely structured facility, Kinngait Studios is operated by the West Baffin Eskimo Cooperative, which is central to supporting the local community and providing artists with skills training in printmaking, painting, and carving.

– William Huffman, Marketing Manager of Kinngait Studios
– Audrey Hurd, Manager of Kinngait Studios
– Juumi Tapaungai, Assistant Manager of Kinngait Studios
– Moderated by Elisa German and Galina Mardilovich.

This program was presented by the Association of Print Scholars for Print Month 2022, hosted by the IFPDA Print Fair.

Turning a Curiosity into a Collection: Mark Baron & Elise Boisanté on Hindu God Prints (28 May 2022)

More than twenty years ago, Mark Baron and Elise Boisanté took a fortuitous trip to India, where they were struck by a vibrant print culture. From private homes to taxi dashboards and advertisements, they encountered ephemeral prints of Hindu gods imbedded everywhere in daily life and devotional practice. Since then, Mark and Elise have sought to trace the origins of these prints, assembling a world-class collection and establishing themselves as preeminent experts in the field. They have likewise been instrumental in forming collections of devotional Hindu prints in several museums and in bolstering scholarly interest of the works in both India and the U.S.

Join APS Event Coordinator Benjamin Levy as he led a conversation with Mark and Elise about their collection and the history of Hindu god prints.

IFPDA Print Month 2021: El Nopal Press: Cross Border Discourses Through Print ( 20 October 2021)

El Nopal Press (Los Angeles), founded by Francesco Siqueiros in 1990, is distinguished by its focus on the work of artists who explore border issues, especially conceptual manifestations of the border, and the complex cultural relationships and exchanges that exist between Mexico and the United States. Featuring a virtual studio tour, as well as prepared slides of notable prints, editions, and artists with whom he has collaborated. Siqueiros will discuss his career, which includes his early work at Cirrus Editions, and the myriad of experiences and influences that led him to his present work at El Nopal.

– Erin Sullivan Maynes, Assistant Curator, Rifkind Center for German Expressionist Studies, Los Angeles County Museum of Art
– Francesco Siqueiros, Founder, El Nopal Press

This program was presented by the Association of Print Scholars for Print Month 2021, hosted by the IFPDA Print Fair.

IFPDA Print Month 2021: Looking Back on the New York Graphic Workshop, 1964-1970 (13 October 2021)

This panel considers the work and legacy of the New York Graphic Workshop, a printmaking collective operative from 1964 to 1970. Together, printmakers Luis Camnitzer (b.1937), José Guillermo Castillo (1938-1999), and Liliana Porter (b. 1941) devoted themselves to producing conceptual pieces indebted to printmaking and its labor-intensive processes. Even as they were committed to traditional methods, the NYGW often bent lithography, etching, and engraving away from their conventions, toward new questions, problems, and ideas. As Camnitzer stated in 1966: “We are printmakers conditioned but not destroyed by our techniques.”

– Nora Rosengarten, Ph.d. candidate, Harvard University
– Luis Camnitzer, Artist-Printmaker Ursula Davila-Villa, Independent curator and art historian
– Liliana Porter, Artist-Printmaker

This program was presented by the Association of Print Scholars for Print Month 2021, hosted by the IFPDA Print Fair.