Nexo Entre Raíces | Nexus Between Roots brings together thirty-three contemporary artists working on either side of the US-Mexico border. Through powerful and timely prints, this exhibition explores how our cultural roots shape and define us.

Organized by artist Marco Sánchez, Nexo Entre Raíces has traveled to the National Hispanic Cultural Center, Kent State University, and the El Paso Museum of Art and will be shown for the first time in California at The Turner.

Reporting to the Director of the School of Art, the Gallery Director/Curator is administratively responsible for the overall operations of the School of Art Gallery, including activities, programming, financial management, and supervision of gallery staff. The Gallery Director/Curator is responsible for ensuring that the research and focus of exhibitions, collections, and events reflect the needs of the School of Art and align with the strategic goals of the University of Manitoba. The programming of the Gallery should make a significant contribution to the contemporary culture and the art history of Manitoba and Canada, representing its diversity, with particular attention to ensuring that Indigenous voices and cultures are represented in the Gallery's activities.

The Gallery Director/Curator is responsible for ensuring that contemporary museological standards are applied to the production of temporary exhibitions as well as to the care, management, exhibition and expansion of the School of Art's Permanent Collection, through exhibitions, research, and collections management. The Gallery Director/Curator will ensure the ongoing progress of the digitization of the Gallery's collection and the creation of a collections database available to the professoriate and the public.

The Gallery Director/Curator is expected to work with faculty and gallery staff to ensure that the permanent collection and temporary exhibitions are used to support the teaching of art history, curatorial studies, and studio. A core responsibility of the Gallery Directory/Curator is to support teaching at the School of Art.

The responsibilities of the Gallery Director/Curator encompass research, programming, collections management, education, and administration. The Gallery Director/Curator is responsible for organizing and producing exhibitions, as well as their ancillary educational programs and events. Exhibition production includes but is not restricted to research, grant writing, administration (general production, advertising and promotion, catalogue production, installation, hiring of guest contributors), education, extension, and partnership with other Canadian cultural institutions on collaborative projects. Collections management includes but is not restricted to the acquisition, documentation, preservation, exhibition, and interpretation of the School of Art Permanent Collection, as well as assistance with the University of Manitoba Collections - a separate entity within the University. Research in this context is understood as supporting the curatorial needs and purposes of the presentation of artworks and curatorial projects that serve the mandate of the Gallery, and as supporting the use of the Permanent Collection in the teaching of art history, curatorial studies, and studio.

The successful candidate will hold, at minimum, a Master's degree in Art History, Museum Studies, Curatorial Studies, Visual Arts, or another similar program, combined with substantial experience in curatorial work, catalogue publishing, grant writing, collections management, museum education, and administration within a public or university art gallery.

Application materials should include a letter of interest and curriculum vitae. Three letters of reference should be sent directly by the referees. Canadian and permanent residents should clearly indicate their citizenship or residency status in their cover letter or CV. Review of applications will begin on September 19, 2025 and continue until the position is filled. Materials should be sent to Sarah Rout at Sarah.Rout@umanitoba.ca.

Please click the link for more information.

Staged in conjunction with the Vanderbilt University Museum of Art’s Fall 2025 exhibition "Paper Backs: Hidden Stories of European Prints from the VUMA Collection," this virtual symposium will bring together curators who oversee collections of European prints at museums spread across the South. Each curator will give a lightning-style, 10-minute presentation about their museum’s pre-1915 European print holdings, with the goal of making these collections better-known amongst local, regional, and global audiences of both amateurs and professionals. The symposium also seeks to initiate a collective discussion about how and why European prints often served as catalysts for the formation of institutional art collections in a region with limited public art infrastructure before the turn of the twentieth century. How did old master and early modernist European prints in particular support various progressive and post-World War I- era agendas? What challenges and opportunities face the study and promotion of such objects in the South today?

Participants:

Dr. Sarah Cartwright
Chief Curator and Ulla R. Searing Curator of Collections, The John and Mable Ringling Museum of Art, Florida State University
Sarasota, FL

Dr. Dana E. Cowen
Sheldon Peck Curator for European and American Art before 1950, Ackland Art Museum, University of North Carolina-Chapel Hill
Chapel Hill, NC

Dr. Maggie Crosland
The Fariss Gambrill Lynn and Henry Sharpe Lynn Curator of European Art, Birmingham Museum of Art
Birmingham, AL

Dr. Nelda Damiano
Pierre Daura Curator of European Art, Georgia Museum, University of Georgia
Athens, GA

Dr. Alyssa M. Hughes
Works on Paper Specialist for the Frank Raysor Collection, Virginia Museum of Fine Arts
Richmond, VA

Dr. Courtney Wilder
Sullivan Collection Curator, Vanderbilt University Museum of Art
Nashville, TN

For more than thirty years, the American Historical Print Collectors Society (AHPCS) has recognized significant scholarship in the field of American historical prints with its Ewell L. Newman Book Award. In 2023 the AHPCS added two new awards to recognize shorter works published in journals and edited volumes, including exhibition catalogues and digital formats. The Essay award is named in honor of Lois W. Newman, a founding member of the Society, who continued as a generous supporter of the publication awards after her husband’s death.

Each annual cycle typically results in one book award in the amount of $2,000 and two essay or article awards in the amount of $750 each. One of the essay awards usually will be designated for the best article published in the AHPCS journal Imprint, as selected by the Newman Award Committee. Awards are not necessarily presented each year but are determined by the quality of available submissions. Occasionally, there may be multiple winners in an individual year.

2025 Ewell L. Newman Book Award

Tatiana Reinoza, Reclaiming the Americas: Latinx Art and the Politics of Territory.
Austin: University of Texas Press, 2023. xii, 272 pp. Illus (29 in color); bibliography, index. $34.95 paper.

This important study, a significant scholarly achievement in the field of American historical prints, is centered on the production, iconography, and social role of prints by Latinx artists in North America from the 1960s into the 21st century. These contemporary works challenge the past practices represented in maps, charts, and views created since the sixteenth century. Referencing these earlier images, the author addresses printmaking’s historical role and complicity in European colonialization. In this new narrative, specific historical maps and prints have become points of departure for new graphic works that may reconfigure the older images.
The author explores the importance of printmaking as a medium and also acknowledges a complex relationship between contemporary Latinx printmaking and American prints over the centuries since the first contact between Europeans and the Americas.



2025 Lois W. Newman Essay Awards
Marina Wells, “Printing Whaling Masculinity in A Shoal of Sperm Whale,” The New England Quarterly (2024) Vol. 97, No.4, pp. 551-576.

The article’s strong focus on the visual culture of 19th-century whaling references artistic conventions, experiences of violence, and white American masculinity. The author discusses two prints depicting whaling scenes produced from designs by Cornelius B. Hulsart, a former whaleman, who drew upon conventional prints of naval battles rather than his own direct experience with bodily injury amid the dangers of whaling. She offers a deep and thoughtful analysis of the imagery in relation to gender, whaling, disability (to some degree), other images and texts, and the spread of such images.

The AHPCS is a non-profit corporation that encourages the collection, preservation, study, and exhibition of prints depicting or reflecting North American history and culture, made either in America or elsewhere. For further information about the Society, please visit the website at https://ahpcs.org. A list of all Newman Publication Award winners to date can be found at https://ahpcs.org/newman-award-winners/ and https://ahpsc.org/essay-award-winners

Indian-born artist Krishna Reddy (1925–2018) was a key member of the Paris-based printmaking studio Atelier 17, where his groundbreaking technical achievements and teaching methods left an important legacy on twentieth-century printmaking. As co-director of the studio and a lifelong educator, Reddy advocated for an open-ended, exploratory approach to making art. For him, the creative process is as important as the final product: “Inquiring, learning: this is the real joy, the movement of life.”

Using a new multicolor printing process that he co-developed at Atelier 17, Reddy expanded the expressive, and even spiritual, possibilities for rendering the natural world in print. This exhibition, timed to coincide with the centenary of the artist's birth, explores his abstract representations of seeds, flowers, insects, water, and the human figure. Dazzling feats of color and texture, Reddy’s prints vibrate with the cosmic energy that, according to his personal philosophy, pulses through and connects all elements of nature. As objects, Reddy’s prints were imbued with a life force of their own. By modifying an image over time—either by reworking the plate or printing in different color combinations—he could give a composition a new life with each printing.

The exhibition celebrates the generous donation of sixty-three works by Reddy to the museum from Drs. Umesh and Sunanda Gaur, making this museum a major repository for the artist’s work.

Estelle L. Roberge, an APS member, will be participating in the Donald M. Robinson
Photography Biennial at “The Southern Alleghenies Museum of Art” with three new
Photo/Collages. Exhibition: July 25-October 19, 2025. Reception: August 2nd, 6-8PM. Anderson House in Bedford, 137 E. Pitt Street, Bedford, PA. 1552

During the 19th century, advancements in industry, science, and technology changed how people thought about and dealt with death. In response, some European artists reimagined a motif known as the dance of death, which historically featured skeletons gleefully clinging to people from all walks of life. This exhibition highlights two portfolios from the Museum’s collection by Albert Besnard (French, 1849–1936) and Max Klinger (German, 1857–1920). Both artists represented death disrupting everyday moments, emphasizing how sudden and unpredictable it could be. The 20 prints convey public anxiety related to previously unknown or more industrial causes of death. By looking to and updating traditions, Besnard and Klinger found a way to cope with the complex world around them.

Experience the wonder of nature through the eyes of artists. Look closely at art depicting insects and other animals alongside real specimens.

Art played a pivotal role during the dawn of European natural history in the 16th and 17th centuries. Advancements in scientific technology, trade, and colonial expansion allowed naturalists to study previously unknown and overlooked insects, animals, and other beestjes, or “little beasts.” Artists such as Joris Hoefnagel and Jan van Kessel helped deepen and spread knowledge of these creatures with highly detailed and playful works that inspired generations of printmakers, painters, decorative artists, and naturalists.

A delight for all ages, this exhibition features nearly 75 of these paintings, prints, and drawings in a unique presentation alongside specimens and taxidermy from the Smithsonian National Museum of Natural History. Learn about the rich exchange between artists and naturalists that sparked a fascination with earth’s living creatures, big and small. See how this intersection of art and science continues to inspire us today in a new film by artist Dario Robleto.

How far does the apple fall from the tree?

Traditionally, professions were passed down in families in much the same way as certain traits, abilities, and resources. This exhibition tells the stories of eighteen artistic families active in France, Italy, England, Scotland, and India from the late-seventeenth to the nineteenth centuries. In some cases, there is a striking visual resemblance between the artworks produced by members of the same family, while in others, the styles of individual artists within a family are highly distinctive. Family relationships also overlap with the roles of teacher and pupil, business partner, and rival.

From highly refined French engravings intended to glorify King Louis XIV and archaeological views of Rome designed for tourists and architects to evocative landscapes of Britain and India, the works in this exhibition chart two and a half centuries of social and artistic change in Europe and beyond. The invention of new printmaking techniques that mimicked the tonal effects of drawings broadened the appeal of prints during this period, and they were enthusiastically collected by a growing middle class. More women entered the profession, too, and more artists traveled internationally in search of inspiration and new markets.

Amidst these significant cultural shifts, the family nonetheless remained a persistent locus of artistic production due to inherited aptitudes as well as close personal and economic connections. Drawing from the Blanton’s collection of European art, A Family Affair presents prints, drawings, and paintings created by some of the continent’s most fascinating artistic families, revealing patterns of inspiration, competition, and evolving family fortunes.

Curated by Holly Borham, Curator of Prints, Drawings and European Art, and Sarah Bane, Assistant Curator, Prints & Drawings, Blanton Museum of Art.

Artist Analia Saban joins Naoko Takahatake, director and chief curator of the Grunwald Center of the Graphic Arts, Case Hudson, master printer at Gemini G.E.L., Shaye Remba, director of Mixografia, and Francesco Siqueiros, founder of El Nopal Press, in a conversation exploring the place of printmaking in Saban’s creative practice and her many innovative collaborations with renowned Los Angeles print shops.
This program is made possible with support from Getty through The Paper Project initiative.