initiated a series of nationwide support programs for the visual arts. The largest and most ambitious program, the Federal Art Project (FAP), put more than 10,000 artists to work. Their artworks, in turn, decorated municipal spaces, circulated through exhibitions, and were allocated to institutions across the country. In 1943 the Saint Louis Art Museum received 256 prints, drawings, watercolors, and paintings. Around half of those were intended for use at the People’s Art Center, the city’s first interracial community art center. This group included the first works by African American artists to enter the Museum’s collection.

This exhibition draws from the particular makeup of the FAP collection at SLAM to examine how art works to bridge communities near and far. From the vantage point of St. Louis, The Work of Art asks: who was supported as an artist? For which audiences and what purposes was art made? And what does it look like to picture a nation through the eyes of artists working across its breadth?

The FAP provided expanded opportunities for professional artists, students, and viewers alike. Through its display of work made by African American, Asian American, and female-identifying artists, this exhibition celebrates the fundamental idea of art being made by and for everyone.

tate Press, 2023), and Ron Tyler, Texas Lithographs: A Century of History in Images (U-Texas Press, 2023).

Two authors received the new Lois W. Newman Essay Awards: Richard M. Candee, “‘One of the coming artists of America,’ Rollin Caughey, Artist-Illustrator, 1880-1884,” Imprint, Volume 47:1 (Spring 2022), pp. 7-21 and Michael P. Conzen, “Rollin Caughey: County History View Sketcher to Metropolitan Newspaper Artist, 1884-1921,” Imprint, Volume 47:1 (Spring 2022), pp. 22-42.

Having received no submissions of other essays concerned with American historical prints, the committee selected two authors of related articles published in a single issue of Imprint, the AHPCS journal. Other submissions received this year were excellent examples of research and scholarship, however they were not centered on American historical prints. In calling for future submissions, the AHPCS wishes to emphasize that our focus is on American historical prints and their imagery as visual culture, not print culture such as texts and printing history. We acknowledge, however, that our field would benefit from a better synthesis of visual and print culture approaches just as print culture scholars might consider integrating images in their analysis.

New Submissions – Deadline December 1, 2024
The purpose of the book and essay awards is to recognize and encourage outstanding scholarship in the field, as defined in our mission statement: prints depicting or reflecting North American history and culture, made either in America or elsewhere. Original research, fresh assessments, and the fluent synthesis of known material will be taken into account. The emphasis is on quality and on making an outstanding contribution to the subject.
Essays between 3,000 and 10,000 words will be considered. Works should be submitted in published form as a hard copy or digital attachment. The Society’s Newman Award Committee will serve as the jury to evaluate both books and article submissions. Jurors are all AHPCS members and include collectors, curators, and scholars of American prints.
Publications remain eligible from the year of publication through the following year, a period of approximately two years. Once a work has been reviewed by the jury, it will not be considered in a subsequent cycle except in a substantially revised edition. Submissions received by December 1st will be considered for the award announced the following spring.

Contact information
To submit material to the committee for consideration, please mail a copy to: Helena E. Wright, 4628 49th Street NW, Washington, DC 20016.
For additional information, please contact the Committee chair at: wrighthelena16@gmail.com
Publishers and authors, please note: if it is possible to provide multiple copies, it would facilitate distribution of the publications among the Committee and speed their work. Please contact the Committee chair for individual addresses. Thank you.

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 Book Award winners to date can be found at https://ahpcs.org/newman-award-winners/ .

lead by Erin Sullivan Maynes and featuring Tava Tedesco, Kiyomi Fukui, Amanda Burr, and Carmen Argote, who will explore the intersection of contemporary printmaking and eco-conscious practices.

, and new techniques for recording watermarks and other physical characteristics of paper. Both in-person and remote access are offered. Register by transfer or credit card through The National Museum portal. The organizers and co-sponsors, The National Museum, The National Library of Norway and MUNCH (The Munch Museum) hope to see you in Oslo!

Note: The deadline for signing up is August 1st!

Please see the attachments for the final programme and the registration form.

For the organizing committee,
Kari Greve

tional Gallery, Dublin)
Valérie Chansigaud (Historian of Science, Independent Scholar and Author)
The research centres TIL (Université de Bourgogne) and EMMA (Université Paul-Valéry Montpellier 3) are organizing a bilingual (French-English) international interdisciplinary conference on the role of women in the development of botany as part of visual, manuscript and print cultures, from the Middle Ages to the contemporary period.
We propose to foster discussions relating to the interconnections between natural science history, print and book culture, visual and gender studies as well as ecocriticism. Papers may focus on a wide variety of case studies pertaining to any geographical area, from herbals to non-fiction writing, from publishers’ and libraries’ archives to museum collections, or from the garden to the diary and to the printed book. They will address the role of women as amateur or professional botanists, gardeners, members of clubs, illustrators, diarists, writers, publishers, and in any other capacity where their individual practices bear on forms of manuscript and print artefacts.
The following themes will be of particular interest:
- The book of nature and its legacy
- Itineraries of Women and Plants
- Records, archives and publicity
- Circulation of manuscript and print artefacts
- Spaces of practice and display
- Botany, illustration and nature writing
- Amateur and professional science
- Female crafting and the intermedial circulation of models

Full CFP accessible at: https://til.u-bourgogne.fr/wp-content/uploads/2024/04/CFP-final-EN-FR-botanique-IC-2025.pdf

Please send a 300-word abstract and a biobibliography (in English or French) before 31st October 2024 to bookofnature2025@gmail.com
Notification: 15th December 2024. The programme will be finalized in January 2025.
After the conference, submission of papers for publication: 30th September 2025.
Scientific Committee: Dr Marie-Charlotte Anstett (CNRS, Université de Bourgogne); Dr Anna Cabanel (KU Leuven); Dr Kathleen Davidson (University of Sydney); Rodolphe Leroy (Université de Bourgogne); Dr Katherine Manthorne (City University of New York); Dr Clélia Nau (University Paris-Cité); Dr Ann Shteir (York University, Canada).

Organizing committee: Sophie Aymes, Marie-Odile Bernez, Ali Hatapçı, Candice Lemaire (Université de Bourgogne), Valérie Morisson (Université Paul-Valéry Montpellier 3).

the ducal court of the Gonzaga dynasty. Like many printmakers in this period, she specialized in engraving renditions of paintings, drawings, and sculptures by other artists, which required the creativity and technical acumen needed to translate an image from one medium to another.

Diana was eventually drawn to Rome, where ambitious printmakers went to make their fortunes. Rome attracted travelers from across Europe eager to see ancient artifacts, holy sites, and work by the leading artists of the time. As an enterprising printmaker, Diana carefully selected religious, antiquarian, and mythological subjects that resonated with these audiences. Placing her work in dialogue with other printmakers in her orbit, this exhibition highlights Diana’s contributions to the dynamic world of printmaking in late-1500s Rome.

Berufsverband Bildender Künstler Sachsen-Anhalt and the Künstlerbund Dresden were also invited to present their positions on experimental printing to the public. The results can now be seen at the Anhaltischer Kunstverein Dessau. They show the range of printing possibilities - from classic printing processes to new, experimental techniques.

, they also trace a history of settler colonialism upon ancestral lands. Using imagery such as elk, birds, architectural structures, roads, tree stumps, lunch boxes, and flying saucers inhabited by historical figures found on US currency, Akers records a history of removal and change over Osage homeland while reconstructing a new sense of place in the (23) recent monoprints chosen for this exhibition.

Norman Akers is an Osage artist from the Greyhorse District community in Oklahoma. He has been an associate professor of art teaching painting and printmaking at the University of Kansas since 2009, and continues to maintain an active exhibition schedule around the country.

erra (c. 1810-15), La Tauromaquia (1815-1816), and Los Disparates (c. 1815-23). The Disasters of War is represented by a rare working proof set, one of only two in the world (82 prints). Select working and trial proofs, bound volumes and hand-colored impressions from the Caprichos are also exhibited.
In the small focus gallery on the museum’s main level is I Saw It: Modern Artists Respond to Goya is a supplementary exhibition that examines Goya’s legacy as reflected in the work of Yinka Shonibare, and the prints of Enrique Chagoya, Pablo Picasso, Leon Golub, and Andy Warhol. Chagoya’s work presents contemporary interventions to Goya’s prints, Picasso and Shonibare make direct references to them, and Warhol and Golub take on similar formal approaches and themes.