APS invites you to join Jan Howard (RISD) and Shelley Langdale (National Gallery of Art), along with Brandywine workshop founder, Allan Edmunds, and Brandywine Advisory Committee member and website designer, John Cardone, who will be hosting an introduction to an exciting new resource under production by the Brandywine Workshop in Philadelphia -- the Artura database of diverse contemporary prints (https://www.artura.org/).

Thursday, January 21, 2021, 7 pm EST/ 6 pm CST / 5 pm MST / 4pm PST

A Zoom link will be sent out with a reminder in January, but we anticipate that our January calendars will fill up quickly after the holidays and wanted to be sure to let you know about this exciting opportunity

This presentation is offered to members of the Print Council of America and the Association of Print Scholars specifically.

We hope you will join us!

Please join the Association of Print Scholars for "The Graphic Conscience", the APS-sponsored session convening at the 2021 CAA Annual Conference in New York.

“The Graphic Conscience” calls for papers addressing transhistorical and transnational case studies of print as a tool for raising public consciousness. This session critically considers the ethics of print, inherent in the medium’s daily use-value beyond its function as a rarified fine-art object in a museum. Democratic in nature, print communicates through text and/or image as well as through its multiplicity. In considering the “graphic conscience” – or the social responsibility – of print, this session will celebrate the medium’s impacts on everyday life. The framework for this session responds to the thesis of the 2011 publication Philagrafika: The Graphic Unconscious, which reflected on the formal characteristics of print and argued for its assimilation within art at large. Papers can address a wide range of art historical as well as visual and material culture examples, including but not limited to Martin Luther’s Ninety-Five Theses of 1517; the seventeenth century etchings of Jacques Callot’s Les Grandes Misères de la guerre; the didactic agitprop of Taller de Gráfica Popular in late 1930s Mexico; and the commercially-produced postcards mailed to Americans by the Centers for Disease Control in response to the COVID-19 pandemic in 2020. Prints of all techniques – from Renaissance woodblocks to contemporary risograph zines – are eligible. Papers engaging post-colonial critique and/or topics from outside North America and Europe are strongly encouraged. Practice-based papers by artists, giving us a perspective from inside the studio or printshop, are particularly welcomed.

Session Chair:
Ksenia Nouril, PhD, Jensen Bryan Curator, The Print Center, Philadelphia

Presentations:
"Conscience and the Market: Frans Hogenberg's Current Events Prints and their Legacy"
Thomas Brown

"The Violence of the Cut: Wood Engraving, Illustrated Newspapers, and the Rendering of Civil War Atrocity"
Anne Strachan Cross, University of Delaware

"Graphic Solidarity: Krakow's Antibiennale of 1984"
Wiktor Komorowski, The Courtauld Institute of Art

"Re-Telling the Story: A Collaboration with Alberta Whittle"
Sandra De Rycker

"Expanding the Boundaries of Printmaking: Nuria Montiel’s Imprenta móvil (Mobile Press)"
Alberto McKelligan Hernandez

Please visit the 'External Link' below for more information about attending this online session.

Dear Members,

The Association of Print Scholars seeks nominations for the positions of Vice President and Treasurer for a two-year term beginning in January 2021 through December 2022.

In accordance with our by-laws, these roles are elected positions to be filled biannually via an online election decided by APS members. The Vice President is a crucial member of the organization’s daily operation, who will shadow the incoming President, in preparation for their future term in that role, but will also have a major voice in planning for the future of APS. In addition, the Treasurer oversees the organization's finances and serves as critical support for the APS President and Vice President. Attached please find detailed descriptions of each position.

We invite all members to nominate someone or self-nominate via email (info@printscholars.org) by Saturday, October 10, 2020. We will contact all nominated individuals to confirm their willingness to run in the election.

Please feel free to email the current President, Alison Chang (president@printscholars.org), and Vice President, Elisa Germán (vicepresident@printscholars.org), with any questions.

Thank you for your participation.

Please join the Association of Print Scholars for "Registering the Matrix: Printing Matrices as Sites of Artistic Mediation", the APS-sponsored session convening at the CAA Annual Conference in Chicago on Friday, February 14, 2020 at 4:00pm.

Session Chair:
Jun Nakamura, University of Michigan

Session Description:
Printing matrices often have storied pasts. Rembrandt’s plates were reprinted, reworked, otherwise altered, and sent under the roller until little of the artist’s hand remained. One eighteenth-century printer etched over a Rembrandt plate in the name of restoration before cutting it down into smaller plates; another printed Rembrandt’s plates with masks, plate tone, and in combination with other plates in order to create new compositions; and Rembrandt himself repurposed a plate by Hercules Segers. Beyond Rembrandt, Gauguin’s woodblocks were printed in editions by himself, by printer Louis Roy, and posthumously by Pola Gauguin. The resulting editions vary widely in inking, coloring, and support. Contemporary artists’ prints produced by publishers like Gemini G.E.L or Crown Point Press are often as much a product of collaboration with the printers as of the artist’s singular hand. While the Blocks, Plates, and Stones conference held at the Courtauld in 2017 did much to shed light on the matrix itself, examining the contributions of printers and publishers adds complexity to notions of authorship and illuminates processes particular to the medium; and looking at the afterlife and reuse of matrices provides evidence of artistic encounters, exchanges, and processes. This session addresses the printing matrix as site of mediation, across time and geography.

Presentations:
"Restrike as restoration: a Diachronic Analysis of The Triumphal Arch of Maximilian I"
Jesse Noah Feiman, Massachusetts Institute of Technology

"'With ink, a rag, and his two arms': Inking the Matrix in Nineteenth-Century France"
Laurel Garber, Northwestern University

"Edouard Manet's The Absinthe Drinker: The Evolution of an Etched Plate and Prints"
Elissa Watters, Yale University

""The Machine That Makes the Art": Printmaking as Conceptual Practice at the Nova Scotia College of Art and Design Lithography Workshop"
Rachel Lena Vogel, Harvard University

Conference Room:
Hilton Chicago - 3rd Floor - Williford B

Please visit the 'External Link' below for more information.

The APS Publication Grant supports the publication of innovative scholarly research about printmaking across all time periods and geographic regions. The grant carries a maximum award of $2,000 and is funded through the Association of Print Scholars and the generosity of C.G. Boerner and Harris Schrank.

Proposed projects should be feature-length articles, online publications or essays, exhibition catalogues, or books, which are nearing completion and publication. Examples of possible uses for an APS Publication Grant include, but are not limited to, the following:
-Travel expenses for research essential to the completion of a manuscript;
-Studio time or courses in printmaking that will contribute significantly to a scholar’s understanding of their subject matter, or collaboration between printmakers and scholars;
-Funding assistance for photography and image permissions;
-Honoraria for contributors to edited volumes or other collaborative publications.

Applications are due August 31. Successful applicants will be notified by November 1 and the grant must be applied to publication costs within one year of notification.

Application Requirements & Review Criteria
Successful proposals must address all of the following criteria, which must be consolidated into a single PDF document (12 pt. font, black text):
-Proposal narrative describing scholarly project. Projects will be evaluated based on the clarity of the proposal and the originality and innovation of the applicant’s research (500-1000 words).
-Budget and budget narrative (250 words or less) detailing how grant funding would be spent. Please list any other grants for which the applicant has applied, amounts, and the results (if known).
-A detailed publishing plan, which should ideally include documentation of progress towards publication or the project’s likelihood of publication. This documentation could take the form of a letter from an editor, press, or publisher, or an outline of possible publishers and contact made thus far. Please note that applications with a publisher’s support will receive highest consideration for the grant.
-CV for all participant(s), no longer than 3 pages for each participant.

Applicants should send the above materials in a single PDF by August 31 to the APS Grants Committee at grants@printscholars.org.

The Association of Print Scholars is excited to announce its selection for the APS-sponsored session at the CAA conference to be held in Chicago, February 12–15, 2020.

Title:
Registering the Matrix: Printing Matrices as Sites of Artistic Mediation

Session Chair:
Jun Nakamura, University of Michigan

Session Abstract:
Printing matrices often have storied pasts. Rembrandt’s plates were reprinted, reworked, otherwise altered, and sent under the roller until little of the artist’s hand remained. One eighteenth-century printer etched over a Rembrandt plate in the name of restoration before cutting it down into smaller plates; another printed Rembrandt’s plates with masks, plate tone, and in combination with other plates in order to create new compositions; and Rembrandt himself repurposed a plate by Hercules Segers. Beyond Rembrandt, Gauguin’s woodblocks were printed in editions by himself, by printer Louis Roy, and posthumously by Pola Gauguin. The resulting editions vary widely in inking, coloring, and support. Contemporary artists’ prints produced by publishers like Gemini G.E.L or Crown Point Press are often as much a product of collaboration with the printers as of the artist’s singular hand. While the Blocks, Plates, and Stones conference held at the Courtauld in 2017 did much to shed light on the matrix itself, examining the contributions of printers and publishers adds complexity to notions of authorship and illuminates processes particular to the medium; and looking at the afterlife and reuse of matrices provides evidence of artistic encounters, exchanges, and processes. This session seeks papers that address the printing matrix as site of mediation, across time and geography.

Papers topics might include:
- Reuse, restoration, or defacement of printing matrices
- The contributions of printers in printing other artists’ matrices
- Creative processes manifest in the printing of matrices, rather than in their making
- Collaboration via the matrix

A formal Call for Papers will be circulated with CAA's larger CFP with all sessions soliciting papers later this summer. Stay tuned!