Please join APS President ​​Elisa Germán and Vice President Galina Mardilovich on Friday, October 28, 2022, 4:00 PM - 6:00 PM for the APS Annual Members Meeting to learn about APS's work over the past year and to hear a preview of upcoming events and initiatives in 2023. Or, just stop by to say hello to other APS members! There will be a cash bar open for guests.

VIP Lounge (mezzanine level, across from the River Pavilion entryway)
Jacob K. Javits Convention Center
655 West 34th Street, River Pavilion, New York, NY 10001

Ink, Paper, Stone: Six Women Artists and the Language of Lithography

Ink, Paper, Stone: Six Women Artists and the Language of Lithography examines the prints of six critically acclaimed female artists who visited Los Angeles in the 1960s to explore the art of lithography: Ruth Asawa, Gego, Eleanore Mikus, Louise Nevelson, Irene Siegel and Hedda Sterne. Each woman received a two-month fellowship at the famed Tamarind Lithography Workshop, founded by the visionary printmaker June Wayne in 1960. With its mission to train master printers and pair them with visiting artists, Tamarind was a nexus for the revival of the medium in America. Though each of the women in this exhibition had already established her reputation in other media by the time of her visit—and only two had made lithographs before—they all found that lithography offered fascinating, new possibilities for exploring their aesthetic interests.

At Tamarind, Gego, Mikus and Nevelson engineered unique approaches to geometric abstraction, kineticism and minimalism in their lithographs. Sterne and Asawa created imagery derived from literature and nature, sources that had provided them with lifelong inspiration. Irene Siegel alone composed stylized, figurative vignettes that pop with vibrant color and bold lines. In the lithography workshop, these six distinct artists shared an interest in the physical properties of their materials, including ink and paper, which they exploited to convey a sense of the artist’s own hand in the process of making an image.

Describing her folded paper drawings from this period, Eleanore Mikus advised viewers to pay close attention, for “the more you look, the more you see.” Ink, Paper, Stone explores the significance of that observation in the works of art themselves, as well as in the lives of these groundbreaking women artists, who navigated the complex and competing expectations of an art world in which female achievement was measured by a different set of standards.

SAGA invites the public to view our member artists’ top achievements in fine art printmaking, in our annual exhibition held this year from October 24–November 4 at the Salmagundi Club, 47 Fifth Avenue, New York NY 10003. Featuring the vision, skill and grace of over 140 contemporary printmakers from around the country working in woodcut, silkscreen, mezzotint, etching, lithography, aquatint, and more, this is a show for collectors and connoisseurs as well as the uninitiated.
Opening Reception: October 28 from 6 to 8 pm.

Also, visit our installation at The Met Store from October 28 to November 4 at The Metropolitan Museum of Art.
Event: Meet and Greet, with Tom Huck. October 30 from 3 to 5 pm.

The Association of Print Scholars (APS) is currently accepting applications for the second of its two-part series of intensive hands-on printmaking workshops for emerging scholars and curators, which is generously funded by The Getty Foundation’s initiative, The Paper Project: Prints and Drawings Curatorship in the 21st Century. This five-day workshop will be dedicated to intaglio techniques (etching, drypoint, engraving) and will be hosted in Minneapolis, MN, in partnership with the Highpoint Center for Printmaking and the Minneapolis Institute of Art.

A thorough comprehension of various printmaking methods is critical to producing scholarship and exhibitions on these media. Yet, many early-career print curators and scholars lack such practical experience as they embark on their careers due to competing professional and academic demands that make it difficult to enroll in a semester-long printmaking course. With the technical intricacies of printmaking difficult to grasp through text alone, an intensive workshop provides an invaluable ​technical and material knowledge of printmaking that will not only contribute to, but also enhance, a print curator and scholar’s understanding of a work’s content, intention, and aesthetic. The aim of this workshop is to further ​prepare participants to better communicate these complex techniques in an accessible language to a general museum audience and contribute new personal insight to the field.

Ten early-career curators and scholars will be selected to participate in the workshop, which will be held in Minneapolis, MN, between July 24 and July 28, 2023. The intensive program will include a visit to MIA’s Herschel V. Jones Print Study Room to examine a selection of intaglio prints from the museum’s collection. Participants will also engage in hands-on work in drypoint, engraving, and etching at the Highpoint Center studio as well as explore the Highpoint’s facilities, library, galleries, and print room. A day will be devoted to print identification, including a second visit to MIA's Study Room to scrutinize variant intaglio techniques (aquatint, mezzotint, etc.). The workshop will conclude with Highpoint staff leading demonstrations of other intaglio techniques as informed by participant projects and a final seminar and reflection led by APS organizers.

Applications to the workshop are open to candidates who have a graduate degree (or equivalent experience), but must be within 10 years of receiving their terminal degree. Preference will be given to early-career curatorial professionals (curators, curatorial or research assistants/associates, postdoctoral fellows), although advanced graduate students and independent scholars with a long-held demonstrated interest in printmaking and curatorial practice will also be considered.

APS is committed to supporting the professional development of a diverse and inclusive community within the field of print scholarship and strongly encourages candidates from underrepresented groups to apply.

Travel, accommodation, and meal expenses will be covered.

To apply, please submit the following documents via an online application form at the link below.
The application requires:
- A brief statement (500 words max.) describing your research and how it would be enriched by a workshop on intaglio techniques
- A current CV or resume
- One letter of reference (sent directly to workshops@printscholars.org)
Please note that for full consideration, all materials, including the reference letter, must be received by the workshop organizers no later than November 1, 2022.

Successful applicants will be notified by December 1, 2022.

The workshop will be organized and led by current APS President, Dr. Elisa Germán, and APS Workshop Coordinator, Dr. Sarah Bane.

Gemini G.E.L. is pleased to announce its upcoming exhibition, curated by print scholar Susan Dackerman. See below for more information:

“Dialogues Across Time: From Dürer to the Artists of Gemini G.E.L.”
October 6, 2022 – January 14, 2023

Our exhibition during Print Month will examine the long history of making prints and how contemporary and historic artists treat many of the same themes. It's an opportunity to present historic material, with works by Dürer, Schongauer, Francesco Fontana, Rembrandt, and others, exhibited side-by-side with contemporary artists who have collaborated with Gemini G.E.L. over the past half-century. “Artists both document and produce history. They simultaneously exist in its stream while making their own artistic pathways. Printed images have always been a source of history for artists, and printmaking is a means of making their own histories visible.” -Susan Dackerman, curator
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On Friday, Oct 28, our gallery will host a reception for the exhibition, to coincide with the grand opening of the Print Center of New York, conveniently located on the ground floor of our building (address in my signature). Please RSVP at: rsvp@joniweyl.com

We will also be participating in the upcoming IFPDA Print Fair (Booth #311), and our presentation will include new and recent publications by Tacita Dean, Frank Gehry, Ann Hamilton, Toba Khedoori, Analia Saban, and Richard Serra. We will also feature a tribute to the acclaimed Pop artist Claes Oldenburg.

"Giving VOICE: Native American Printmaking from Crow’s Shadow Institute of the Arts" and accompanying catalog, organized in conjunction with BGSU’s "In the Round" speaker series on Native American Artists in Fine Art, Graphic Design, Music, Film and Theater.

The exhibition features 38 prints to showcase the pivotal role Crow’s Shadow plays in upholding the notion of Native American visual sovereignty. Additionally, the display of works created by artists such as Rick Bartow, Raven Chacon, Jim Denomie, James Lavadour, Kay WalkingStick, and Marie Watt among others, underscores the diversity of voices and aesthetic approaches taken by Indigenous artists and printmaking's expanding role in Native American Art as an agent of “survivance.”

The Association of Print Scholars (APS) seeks officers to serve for the upcoming two year term: January 1, 2023, through December 31, 2024.

Anyone is welcome to serve! If you are interested, please submit an application via the form linked below. The deadline to submit is October 14, 2022.
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The following positions are open:

- Vice President
- Treasurer
- Secretary
- Membership Coordinator
- RSA (Renaissance Society of America) Coordinator
- CAA (College Art Association) Coordinator
- Program Coordinator(s) [seeking 2-3 officers]
- Grants Committee [seeking 4 officers]
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If you have any questions, please reach out to APS at info@printscholars.org.

Qualified candidates will be contacted by the APS President and Vice President by November 1, 2022.

Please Note: Per APS's By-Laws, the Vice President and Treasurer officer positions are subject to an APS-wide election, which will be held later this fall.

APS also welcomes nominations for a new Director-at-Large. We are currently seeking nominations and self-nominations for this position, with an election to be held later this fall.

The Director-at-Large is a member of the APS Board and is responsible for the general oversight of the organization, reviewing finances and ensuring that APS complies with its mission and By-Laws. The time commitment is minimal, requiring only the Director's attendance at the annual board meeting, which is held via video or teleconference. The term for this role is three years, from January 1, 2023, until December 31, 2025.

Please email nominations or self-nominations to info@printscholars.org by October 14, 2022.

Announcing the publication of Contextual Alternate, an annual journal that brings together essays critically examining print in diverse contexts of production and communication.

Volume 1 contains the following:

Making tracts attractive: missionary print and the small book in nineteenth-century rural India
ULRIKE STARK

Popular woodblock print and lithography in the making of China’s global imaginary
JAMES A. FLATH

In-between technologies: the beginnings of Devanagari filmsetting and photocomposition
in India
VAIBHAV SINGH

Nihon dō-banga: an introduction to the Japanese school of etchers, 1783–1900
AD STIJNMAN

Going dutch at Colombo: the earliest years of the British Government Press in Ceylon
GRAHAM SHAW


Subscriptions to the journal can be acquired at any time directly from the journal’s website, or through institutional subscription agents.

Mitchell -Giddings Fine Arts presents retrospective exhibit of 120 prints and paintings by noted printmaker Brian D. Cohen.

About his work in prints Cohen has written: I embrace themes of loss, futility, destruction, and unexpected, redemptive beauty, themes tied to the tradition of printmaking, whose imagery has always tended toward critical commentary and serious contemplation, and often toward humor and irony as well. The process of etching is physical and elemental, requiring force and pressure, inviting aggression and then delicacy, conjoining fire, water, earth, and air. There is something about setting an image into metal that implies permanence, duration, and enduring presence.

Artist’s books and prints by Brian D. Cohen have been shown in forty individual exhibitions, including a retrospective at Fresno Art Museum, and he has participated in over 200 group shows. Cohen's work is held by major private and public collections throughout the country, including Yale, Harvard, Brown, and Stanford Universities, Middlebury, Smith, Wellesley, Swarthmore, and Dartmouth Colleges, the University of Vermont, The New York Public Library, The Library of Congress, the Philadelphia and Portland Museums of Art, and the United States Ambassador's residence in Egypt. He was winner of international print competitions in San Diego, Philadelphia, and Washington, DC.

In 1989 Cohen founded Bridge Press to further the association and integration of visual image, original text, and book structure.

Announcing publication of a collaborative book project of 36 poems and prints portraying animals' wildness, beauty, and beatitude, poems by Chard deNiord, former Poet Laureate of the State of Vermont, Brian D. Cohen, a noted printmaker, with a foreword by Carolyn Forché, poet and essayist. 500 copies signed by the poet and artist.