The Schulman and Bullard Article Prize
The Association of Print Scholars invites applications for the eighth Schulman and Bullard Article Prize. The Prize is given annually to an article published by an early-career scholar that features compelling and innovative research on fine art prints or printmaking. The award, which carries a $2,000 prize, is generously sponsored by Susan Schulman and Carolyn Bullard. Following the mission of the Association of Print Scholars, articles can feature aspects of printmaking across any geographic region and all chronological periods. Articles will be evaluated by a panel of advanced scholars for the author’s commitment to the use of original research and the article’s overall contribution to the field of print scholarship.
The Association of Print Scholars invites nominations and self-nominations for the 2023 Schulman and Bullard Article Prize meeting the criteria outlined below:
- Authors must have graduated with an MA, MFA, or PhD fewer than 10 years prior to article publication and have less than 10 years of experience as a practicing professional in an academic or museum institution or as an independent scholar.
- Authors must be current members of APS.
- Articles must have been published in a journal, exhibition catalogue, or anthology between January 1, 2022 and December 31, 2022. Online publications will be considered on a case-by-case basis.
- Articles must be between 3,000 and 10,000 words, inclusive of footnotes and references.
- Entries for consideration must be in English, though the text of the original article may be in any language.
To submit an article for consideration, please send the completed nomination form along with an electronic or hard copy of the article to Angela Campbell (firstname.lastname@example.org) by January 31, 2023.
Winners of the Schulman and Bullard Article Prize
2022 Prize (press release)
Anastasia Belyaeva, “A Limited Run: How the Scarcity of Drypoint Facilitated the Unprecedented Rise in its Practice in the 19th Century,” in Histoire de l’art, no 88, 2021/2.
Talitha Maria G. Schepers, “Art and Diplomacy: Pieter Coecke van Aelst’s 1533 Journey to Constantinople,” in Diplomatic Cultures at the Ottoman Court, c.1500–1630, ed. Tracey A. Sowerby and Christopher Markiewicz (Routledge 2021).
2021 Prize (press release)
Tatiana Reinoza, “War at Home: Conceptual Iconoclasm in American Printmaking.” In ¡Printing the Revolution! The Rise and Impact of Chicano Graphics, 1965 to Now, ed. E. Carmen Ramos. (Princeton, NJ: Princeton University Press, 2020), 105-127.
Mechella Yezernitskaya, “Civilians Seeing the War: Olga Rozanova’s and Aleksei Kruchenykh’s 1916 War.” In Artistic Expressions and the Great War, A Hundred Years On, ed. Sally Debra Charnow (Oxford: Peter Lang Publishing, 2020), 155-182.
2020 Prize (press release)
Elizabeth Savage, “Identifying Hans Baldung Grien’s Colour Printer, c. 1511-12.” In Burlington Magazine, Volume 161 (October 2019): 830-839.
Tomasz Grusiecki, “Michal Boym, the Sum Xu, and the Reappearing Image.” In Journal of Early Modern History, volume 23, issue 2-3 (May 2019): 296-324.
Erin Sullivan Maynes, “Making Money: Notgelt and the Material Experience of Inflation in Weimar Germany.” In Art History, volume 42, number 4 (September 2019): 678-701.
2019 Prize (press release)
Shira Brisman, “A Matter of Choice: Printed Design Proposals and the Nature of Selection, 1470-1610.” In Renaissance Quarterly, volume 71 (2018) pp. 114-64.
Lorenzo Gigante, “The Madonna del Sangue: A Miraculous Print in Bagno di Romagna” in Print Quarterly, Vol XXXV, no. 4 (2018).
2018 Prize (press release)
Rebecca Capua, “Japonisme and Japanese Works on Paper: Cross-cultural and hybrid materials.” In Adapt and Evolve: East Asian Materials and Techniques in Western Conservation, proceedings from the International Conference of the Icon Book & Paper Group, London 8-10 April 2015.
Paris Amanda Spies-Gans, “A Princely Education through Print: Stefano della Bella’s 1644 Jeux de Cartes Etched for Louis XIV.” Getty Research Journal, no. 9 (2017): 1-22.
Sileas Wood, “Moving Pictures: Nineteenth-Century British Mechanical Prints” Print Quarterly 34, no. 2 (June 2017): 162-176.
2017 Prize (press release)
Jonas Beyer, “Pictures in Flux: Degas’s monotypes and some notes on their relation to other media.” In Perspectives on Degas, ed. Kathryn Brown (London: Routledge, 2016): 164-176.
Shira Brisman, “Relay and Delay: Dürer’s Triumphal Chariots in the Era of the Post.” Art History 39, no. 3. (June 2016): 437-465.
2016 Prize (press release)
Joyce Zelen, “The Venetian Print Album of Johann Georg I Zobel von Giebelstadt.” Rijksmuseum Bulletin 63, no. 4 (2015):3-25.
Jamie Gabbarelli, “Phillippe Thomassin and Giulio Mancini’s Art Collection.” Print Quarterly 32, no. 4 (2015): 379-394.
2015 Prize (press release)
Morgan Ng, “Milton’s Maps.” Word & Image: A Journal of Verbal/Visual Enquiry 29, no. 4 (2013*): 428-442.
* The 29th volume of Word & Image has an official publication year of 2013, although this issue was released in March 2014 both online and in print.
Marisa Anne Bass, “Hieronymous Bosch and His Legacy as ‘Inventor.” In Beyond Bosch: The Afterlife of a Renaissance Master in Print. St. Louis, MO: Saint Louis Art Museum, 2015: 8-29.
Alexandra Onuf, “Old Plates, New Impressions: Local Landscape Prints in Seventeenth-Century Antwerp.” Art Bulletin 96, no. 4 (Dec. 2014): 424-440.