On 12-13 February, The Courtauld Institute of Art will be hosting a two-day conference in collaboration with the journal Print Quarterly, entitled ‘Placing Prints: New Developments in the Study of Print, 1400-1800’.

We have a packed programme full of established and emerging scholars and the event will comprise of a series of panels dedicated to overarching themes, including Theory, Circulation, Colour, Appropriation and Adaptation, Print Processes, Reproduction, Ornament, Dedication and Audience, Market and Commerce and Use and Collecting. Antony Griffiths will be delivering an opening keynote lecture on ‘Changing Approaches to the History of Print’ and the conference will begin with a pop-up exhibition in the Courtauld Gallery’s Prints and Drawings Study Room, ‘Courtauld Prints: The Making of a Collection’.

The full programme and tickets to the event are available at: http://courtauld.ac.uk/event/placing-prints-new-developments-in-the-study-of-early-modern-print. Updates are also available via twitter @PlacingPrints.

We would be delighted if you could join us.

The printmaking community in Portland integrates tradition, innovation, and technology, while also promoting social awareness and sustainability. Our relationships with industry, community development, and social collaborations point to progress as we evolve with our environments and maintain relevance in the changing currents of contemporary society. Printmakers and printmaking communities around the world are in flux. We are moving forward, adapting and responding to the changing times while honoring our rich history and foundations in printmaking.

The history of childhood has become an important field of study in recent
years. One of its exciting characteristics is that it attracts researchers
from a rich variety of disciplines, including the humanities, the social
sciences and the human sciences. Consequently, the history of childhood
emotion, puberty, selfhood, health and agency has become more visible, both
inside and outside the academy. Yet, with the rising popularity of childhood
history comes a growing concern about the kinds of evidence that can be used
to reconstruct the lives of children. This concern is increasingly intimated
by scholars who research the material and visual foundations of childhood.
They point out that many histories of pre-twentieth-century childhood often
fail to engage directly with evidence that was made or (conclusively) used by
girls and boys, either in specialised settings or on a daily basis.

This workshop seeks to develop and extend the material and visual history of
childhood by focusing on the kinds of graphic evidence that was made or used
by children during the 18th and 19th centuries. The notion of ‘graphic’ will
be interpreted widely to mean the instruments, skills or materials used to
manually represent knowledge on paper (or similar forms of media) through
writing or drawing. The papers will discuss how graphic artefacts can be used
as childhood evidence and/or to what extent graphic materials and techniques
can be used to historicise how children experienced the world through the act
of making or using an object. To keep the discussion focused, each speaker is
invited to concentrate on a specific graphic genre of her choosing, and to
consider how the genre can be used to analyse the legitimacy and efficacy of
current methods used to reconstruct the history of childhood.

SPEAKERS

Dr Matthew Daniel Eddy
Department of Philosophy
Durham University
https://www.dur.ac.uk/philosophy/staff/?id=1715

Prof Kathryn Gleadle
Faculty of History
Oxford University
http://www.history.ox.ac.uk/faculty/staff/profile/gleadle.html

Prof Matthew Grenby
School of Literature, Language & Linguistics
Newcastle University
http://www.ncl.ac.uk/elll/staff/profile/matthew.grenby

Dr Barbara Gribling
Department of History
Durham University
https://www.dur.ac.uk/history/staff/profiles/?id=12996

Dr Siân Pooley
Faculty of History
Oxford University
http://www.magd.ox.ac.uk/member-of-staff/sian-pooley/

Prof Barbara Wittmann
Professorin für Kunst- und Bildgeschichte
Humbolt University, Berlin
http://www.kunstgeschichte.hu-berlin.de/personen/professorinnen/barbara-wittmann/


SPONSORS
This event is sponsored by Durham University’s Institute of Advanced Study,
the Centre for Nineteenth-Century Studies, the Centre for Visual Arts and
Culture, and the Department of Philosophy.

WORKSHOP ATTENDANCE
This workshop is being organised by Dr Matthew Daniel Eddy
(m.d.eddy@durham.ac.uk). The venue in Durham is
currently being finalised. There will most likely be a small attendance fee
(around L15). Registration details will be circulated in early January.

SGCI is the largest print organization in North America. Its annual conference is the biggest annual gathering focused on the field of printmaking. Artists from all 50 states attend the conference. Regular international attendees come from Canada, South and Central America, and Europe.

This year's annual conference will be in Portland, Oregon. The printmaking community in Portland integrates tradition, innovation, and technology, while also promoting social awareness and sustainability. Our relationships with industry, community development, and social collaborations point to progress as we evolve with our environments and maintain relevance in the changing currents of contemporary society. Printmakers and printmaking communities around the world are in flux. We are moving forward, adapting and responding to the changing times while honoring our rich history and foundations in printmaking.

10:00-10:45
Stephen Bann (University of Bristol), "The Death, and Life, of French Reproductive Engraving in the Nineteenth Century"

11:00-11:30
Benedicte Coste (Unversity of Burgundy), "The Child in the House of Print: Henry Daniel's edition of Walter Pater's 'The Child in the House'"

11:30-12:00
Sophie Aymes (University of Burgundy), "Woodcuts and some Words: Writing about autographic wood engraving in the early 20th century"

MSH, salle R03

The idea of creating a digital resource of prints and drawings has in recent years become a reality on a global scale – for example the virtual print room of the Herzog Anton Ulrich-Museum in Braunschweig and the Herzog August Bibliothek in Wolfenbüttel (www.virtuelles-kupferstichkabinett.de). A collaborative project of these two institutions, along with the University of Marburg - Bildarchiv Foto Marburg and the University of Göttingen, is currently linking the online publication of prints and drawings from the collections of Braunschweig and Wolfenbüttel with iconographic indexing and academic research into the early modern collecting of prints.
The conference will take as its starting point two key questions. How can research into the history of art collecting and digital indexing work together to form a mutually beneficial partnership? How can indexing adapt to the demands of the research community?
Papers on the following subjects and case studies will be welcome:
• The theory and practice of collecting in the early modern period
• Case studies: religious and secular orders, private individuals, artists and universities as collectors of graphic arts
• Networks and trade structures: art agents, dealers, advisers
• The indexing and publicising of graphic collections: from the ‘Recueil’ to the online database
• How can indexing and online publication adapt to the demands of the research community?
• The functionality and organisational systems of graphic collections
• The research and documentation of provenances
We invite proposals for 20-minute papers devoted to the subjects mentioned above.
Proposals (maximum of 500 words) with the title of the paper, institutional affiliation (if applicable), postal and email address and a short CV can be sent up to 30 November 2015 to:
vkk@hab.de. The conference programme will be published in early 2016 on the conference website:
//diglib.hab.de/?link=046

The Trustees of International Print Center New York invite you to join them for PrintFest, a two-day event for undergraduate and graduate students from the New York area to show, sell and trade their prints.


October 16; 3 - 8pm & October 17; 11 - 6pm
@ Rogue Space Chelsea
508 West 26th (9th Floor) 9E-9F, NYC 10001

For more information, please visit: http://www.ipcny.org/exhibitions/printfest-october-16-17-2015/

The aim of the seminar is to invite prominent artists, theorists, curators and museums to discuss the status of contemporary printmaking; from a traditional, theoretical and historical standpoint, to what is happening today and what could happen in the future.

The primary impact of the seminar is aimed at Nordic educational institutions, whose strong cultural connections continue to foster the development of printmaking as an artistic practice. Invited international speakers will deliver a series of talks, to contextualise Printmaking in the Expanded Field and present evidence of its future relevance within contemporary art.

For more information please send an email to: pitef@khio.no

The symposium will bring together an international group of art historians and curators interested in Rembrandt's graphic experimentation to reflect on the newest scholarship in the field.

Organized and moderated by Robert Fucci

With:
Clifford Ackley, Curator of Prints and Drawings, Museum of Fine Arts, Boston
Stephanie S. Dickey, Bader Chair in Northern Baroque Art, Queen's University,
Kingston, Ontario
Jan Piet Filedt Kok, Professor of Studio Practices, University of Amsterdam, former Senior Curator of Early Netherlandish painting, Rijksmuseum
Erik Hinterding, Curator of Prints, Rijksmuseum, Amsterdam 

Nadine Orenstein, Drue Heinz Curator in Charge, Department of Drawings and Prints, Metropolitan Museum of Art, New York

RSVP: https://calendar.columbia.edu/sundial/webapi/register.php?eventID=79770®ISTER_SESSION_NAME=d34fdf4c36bf2714796c7ea7694c7cb6&state=init&

Sculpture, printmaking and photography are essentially multiple, often experiencing many prints as much as all three stem from a matrix that can be changed and give rise to significant variations. Complex objects, they hold both of the original work, interpretation or copying; in this they often confuse lovers and art historians attached to the study of other art forms. They ask specific questions of the rest. Their multi-purpose character does not mask their own characteristics.
Tool and fundamental genre of art history, the catalog has recently been a number of studies. While the paintings and drawings catalogs are the first to have benefited from this research, for "multiple", the field is still little discussed, because of the difficulties posed by the very nature of the objects concerned.

What are the first catalogs multiple objects, how were they treated these objects, compared to unique items, what were the first editors and first uses? What challenges and what choices for catalogs of this type, even today?

Scientific Committee:

Claire Barbillon (University of Poitiers), Véronique Meyer (University of Poitiers), Sylvie Aubenas (National Library of France), Cecilia Hurley Griener (École du Louvre), Valerie Sweat-Hermel (National Library of France), Pierre Wachenheim (University Lorraine), and Anne-Élisabeth Buxtorf (Library INHA)

28, 29 and September 30, 2015
Auditorium Colbert Gallery
Free admission, limited seating available
2, rue
Vivienne, 75002 Paris