rning printmaking workshop, an afternoon symposium and an evening drinks reception.

The morning workshop will be a practical demonstration of a type of folk print known as “lubok”, with Helen Higgins (Courtauld Institute of Art). Over lunch, Louise Hardiman will lead a tour of the museum’s Russian art collection. The afternoon presentations will explore the history of printmaking in the Russian Empire, including: the activities of western and Russian printmakers in Russia and the west; patronage of printmaking by imperial rulers; print connoisseurship; and transnational connections and knowledge transfer in the printed medium.

Alongside the day’s events, Dorich House Museum will launch a virtual exhibition of the museum’s collection of prints, curated by Lauren Warner-Treloar.

Three ticket options are available:

Morning Workshop (with lunch) 10:00-13:00: £30
Afternoon Symposium (with drinks reception) 13:00-19:00: £20
Online Symposium 13:00-18:00: £5

If you would like to attend for the full day, please purchase a ticket for both the Morning Workshop and Afternoon Symposium individually.

Bookings through Eventbrite.

Any profit from this event will go towards the conservation and care of the print collection.

This event is supported by the Association for Art History, Association of Print Scholars, Dorich House Museum, Techne, UKRI-Arts and Humanities Research Council, and the Visual & Material Culture Research Centre at Kingston School of Art.

d, theme, or aspect of print scholarship. We encourage proposals that transcend chronological or geographic boundaries, as well as those that engage current theoretical interests in materialism, archival theory, bibliographic studies, history of ideas, or social history, including feminisms and critical race studies.

If you are interested in chairing a panel, please submit a title and 250-word (max) abstract that describes the subject of your session. Co-chaired proposals are welcome. Once the theme and chair of the panel are selected, the panel will solicit contributors through CAA’s open call. Chair or co-chairs must be members in good standing of APS and CAA.

Submissions should include a 2-page CV and should be sent to caacoordinator@printscholars.org. The deadline for consideration is April 20, 2025.

le drypoint monoprints inspired by her time in Kluane, immersing viewers in the vast landscapes of the Yukon.

wle, Secretary and Administrative Assistant to Tatyana Grosman from 1964-1981, the letter-sized, 28-page booklet can be kept under the catalogue’s front cover for easy reference to its 600 errors and corrections.

The booklet, presently in a proof (trial) edition of 50 copies, will be succeeded by an official edition; the information, however, will not change from the proof edition, but the price likely will.

The few remaining booklets are being offered at $30 each, including first class mail in the United States. Please send an email to reserve a copy or to request additional information.

ThomasCoxArtist@gmail.com

021, University Circle is a haven for culture and history. And for AHPCS members, the timing couldn’t be better—our visit will coincide with the Print Club of Cleveland’s annual Fine Print Fair at the Cleveland Museum of Art.

All of this cultural splendor is just a short stroll away from our conference home base, the historic Glidden House hotel. Built in 1910 as a grand residence, the Glidden House retains much of its original charm, including its elegant library, parlor, and loggia, offering a unique and inspiring atmosphere for our gathering.

We've planned a fantastic set of lectures, museum visits, and delicious meals. Join us in Cleveland for this must-attend event for print

y were chosen by Gallery curator, Cori Sherman North, and director, Ron Michael, to make a special encore in the Midwest. The Gallery's namesake, Birger Sandzén (1871-1954), was an active member of the print society during his lifetime, when it was known first as the Society of Brooklyn Etchers (est. 1915) and through its time as the Society for American Etchers, Gravers, Lithographers, and Woodcutters.

play cover an astonishing international range: Japanese color woodcuts,
French revival landscape etchings, early German “Little Masters” and Albrecht Dürer woodcuts, Dutch old
masters such as Rembrandt etchings, exquisite European portrait engravings, Swedish etchings of Anders Zorn,
B.J.O. Nordfeldt white-line woodcuts, American Regional lithographs by Grant Wood and Thomas Hart
Benton, and more. Birger Sandzén was actively involved in most of the print societies around the country,
including the Chicago Society of Etchers (1910), the Print Makers of California (1914), and the Brooklyn
Society of Etchers (1915) which went through several name changes to become what is now SAGA (Society of
American Graphic Artists), before organizing the Prairie Print Makers at his home studio in December of 1930. He was
invited to be a charter member of Kansas City’s Woodcut Society in 1932, and collected all that Society’s
presentation prints issued twice-yearly through 1947. Sandzén also joined the Society of Print Connoisseurs in
1945, as a collecting member to add commissioned prints such as Gene Kloss’ 1948 drypoint, Processional-
Taos (in this exhibition), to his personal collection.
Once Sandzén was firmly settled in central Kansas and teaching at Bethany College from 1894, he
began his own collection of original prints. When his daughter Margaret married Charles Pelham Greenough 3rd
in 1942, Sandzén found a kindred spirit as his son-in-law's print collection was as varied and deep as his own.
The family collection was eventually inherited by the Greenoughs, who opened the Birger Sandzén Memorial
Gallery in 1957 to host contemporary guest artists and to share their paintings, prints, and sculpture with a wider
audience.

xhibition features the works of over 60 artists and includes work by an early generation of printmakers including Josef Albers and Le Corbusier; works by a new generation in the 1960s who used screen printing to make images drawn from mass media to challenge social norms. These include Peter Blake, David Hockney, Richard Hamilton and Andy Warhol. From these beginnings, later prints in the University Art Collection present a wide range of ideas and attitudes by artists including Polly Apfelbaum, Sonia Boyce, Christian Noelle Charles, Lubaina Himid, Yinka Ilori, Lakwena, Khadija Saye, George Shaw and Emma Stibbon. The exhibition includes loans of major works by Ruth Ewan, Ellen Gallagher, David Hockney, Ciara Phillips, Robert Rauschenberg, Ed Ruscha, Shanzhai Lyric and Sin Wai Kin.
The exhibition is home to a free, working print studio where visitors can work with our studio technician to make their own monoprints inspired by the exhibition.

he heart of the painter's studio. [Presentation given in French]

The conference looks at the impact of Goya's Caprichos on 19th-century French art, particularly on the work of Eugène Delacroix. While the interest of the French public and the Romantic generation in Goya reached its peak in the 1830s, Delacroix was a pioneer, beginning to copy this print series around 1819. Deeply linked to his interest in caricature, expressivity and the grotesque, the Caprichos became part of his artistic imagination and led him to produce, in the following years, numerous Goyesque figures that appeared directly or indirectly in his graphic and pictorial work (as, for example, in Faust). His almost obsessive interest in Goya was part of a wider context marked by the 'Romantisme noir', a taste for Spanish art and orientalism, and he was part of the ‘Goya network’ to which artists and writers such as Théophile Gautier, Victor Hugo, Louis Boulanger, Alfred de Musset and George Sand belonged.

Some 15 workshops are on offer over the 10 days of the exhibition in Moret sur Loing (near Paris).