Dear APS members,

I am pleased to invite you to submit proposals for the session "Cast and Impression: Sculpture and Print in Dialogue", which I will be chairing at the Association for Art History Annual Conference, held at the University of Exeter (UK) from 7–9 April 2027.

This session seeks to bring sculpture and print into dialogue by focusing on their shared processes, technologies, and systems of production. Throughout history, sculptors have turned to print and printmakers to sculpture, while many artists have worked across both media. In each, the artist’s degree of direct involvement may vary considerably, with significant stages of production delegated to specialist artisans, printers, founders, carvers, engravers, or casters. Technological innovations, including photomechanical reproduction and mechanical enlargement, transformed the production and circulation of prints and sculptures alike, challenging distinctions between original and reproduction.

This session invites papers addressing any period or geographical context. Possible topics include artistic exchanges; workshop practices; reproduction and dissemination; technological innovation; and materiality and touch.

The full session abstract and submission details are available here:
https://forarthistory.org.uk/26-cast-and-impression-sculpture-and-print-in-dialogue/

The complete Call for Papers, including all conference sessions, can be found here:
https://forarthistory.org.uk/conference-2027-exeter-aah-2027-call-for-papers/

Deadline for proposals: 25 October 2026.

Please note that all speakers are required to register for the conference, and registration fees apply. Information on registration, including fees (to be announced when registration opens), is available on the conference website:
https://forarthistory.org.uk/conference/2027-exeter/

With my warm wishes,
Anastasia Belyaeva

The department of Prints, Drawings, and Photographs (PDP) at the Philadelphia Museum of Art invites applications for the Suzanne Andrée Curatorial Fellowship. The endowed fellowship is intended to serve as preparation for an advanced career in a museum by providing professional mentorship and extensive firsthand experience with curatorial work in the graphic arts. Reporting to the head of the department, the fellow is a fully integrated member of PDP and works within the department and Paper Conservation on the cataloguing, interpretation, care, display, and growth of the PMA’s collection of over 162,000 works on paper, which range from the fifteenth century to the present day. In addition, fellows have the opportunity to organize programs related to their research.

Specifically, you will:

• Provide access to and maintain schedule for the Abigail Rebecca Cohen Study Room, including visitor outreach, art movement, oversight of class visits and individual appointments, and coordination of presentations
• Research and catalogue the collection and respond to queries
• Assist curators with exhibition and publication planning, management, and implementation
• In consultation with Paper Conservation, prepare condition reports and preliminary research for potential acquisitions
• Assist with collections assessments and other projects related to curatorial functions as assigned by curatorial staff
• Prepare assignments for bi-annual departmental committee meeting, including justifications for potential acquisitions, PowerPoint presentations, and present assigned works of art or topic to committee
• Perform a variety of departmental administrative tasks as needed
• Perform other duties as assigned

Your background and experience include:

• Master’s degree in art history required
• Graduate experience beyond an M.A. degree is preferred
• A passion for the variety and diversity of works on paper within the collection; demonstrated commitment to scholarship in art history and museum work with a specialization in prints and drawings
• An ability to work collaboratively
• An ability to multi-task and negotiate competing priorities while managing longer-term assignments
• Prior experience in a museum environment or similar art institution is preferred

Your background and experience include:

• Master’s degree in art history required
• Graduate experience beyond an M.A. degree is preferred
• A passion for the variety and diversity of works on paper within the collection; demonstrated commitment to scholarship in art history and museum work with a specialization in prints and drawings
• An ability to work collaboratively
• An ability to multi-task and negotiate competing priorities while managing longer-term assignments
• Prior experience in a museum environment or similar art institution is preferred

Position and Compensation Details:

• This is a 2-year term position.
• The salary for this position is $46,561.
• This position is Full-Time, Exempt, and 35 hours per week.
• This position is part of the AFSCME Local 397 bargaining unit.
• This position reports to The Brodsky Curator of Photographs and Head of Prints, Drawings, and Photographs


Applications will be reviewed on a rolling basis. We encourage candidates to apply early as the position will close once we have a robust applicant pool or a candidate has been selected.

New Voices: Renewal
APPLICATION DEADLINE: September 30 @11:59pm ET via https://ipcny.submittable.com/submit

There is no fee to apply. New Voices is Print Center New York’s annual open call program, which provides opportunities for a curator-selected cohort of six to eight US-based artists who engage the curator's thematic framework. Selected artists will present their work and develop their practice through: a group exhibition, artist-led public programming, focused conversation and community-building, and individualized resources for artistic and professional development. This application is for the 2027 cycle of New Voices, which will be centered on a group exhibition on view June–August, 2027.
Please visit printcenternewyork.org/new-voices-application for a full description of program features and requirements.

Guiding Theme: Renewal
For this iteration of New Voices, we ask applicants to consider their work in terms of renewal, a process by which something that was finished, depleted, or otherwise expired is brought into use again. Printmakers have renewed their work since the beginning of the practice, whether modifying matrices from first proof to final edition, reinterpreting the same motifs with the advent of new technologies, or incorporating discarded materials into fresh compositions. Renewal asks: rather than starting over, where do we go from here, and what can be made from what we already have? How can a return to the past help us navigate the present, or develop solutions for the future?
We encourage applicants to consider a broad perspective on renewal: one might display an inventive use of pre-existing or found materials, incorporate a process that was once more common, or engage with historical references in a new context.

Curator: Heather Hughes
Heather Hughes is the Kathy and Ted Fernberger Associate Curator of Prints at the Philadelphia Museum of Art, where her curatorial projects cover the Renaissance through the present. Recent exhibitions include Diana Scultori: An Engraver in Renaissance Rome (2024), Krishna Reddy: The Movement of Life (with Neeraja Poddar), and the forthcoming El Anatsui: Prints and Play (2026) (with Chika Okeke-Agulu). She has previously held positions at the Davis Museum at Wellesley College, Saint Louis Art Museum, and the Rijksmuseum. A specialist in early modern print culture, she received her PhD from the University of Pennsylvania and is an elected member of the Print Council of America.

Artist Eligibility
Applicants must:
currently be living in a state or territory in the United States.
engage printmaking in their practice through concept, materials, or techniques.
be working without institutional support from a major gallery or degree-seeking academic program.

Application Materials
The application consists of:
Short Answers: Responses to three prompts about your practice, submitted in writing (250 words each) or as recorded verbal statements (2–3 minutes each).
Work Samples: Up to ten (10) images of existing work created within the last four years (since January 1, 2022). Selected works do not need to be from a singular project or body of work, but should give a cohesive and holistic view of your artmaking practice.
Curriculum Vitae: A CV including exhibition history and other relevant activity, such as residencies or fellowships (past or upcoming).

6th International Mokuhanga Conference
May 26–29, 2027 | University of Kansas | Lawrence, Kansas, USA

The International Mokuhanga Association (IMA) is pleased to announce that proposals are now being accepted for the 6th International Mokuhanga Conference, to be held at the University of Kansas in Lawrence, Kansas, USA, from May 26–29, 2027.

This year's conference theme, "Mokuhanga in a Connected World: Exploring Diverse Practices and Perspectives," invites artists, craftspeople, scholars, researchers, students, and enthusiasts to examine both the diversity and the responsibilities within this evolving tradition. As mokuhanga continues to develop across cultures and disciplines, the conference provides a space to explore how the field is shaped through material, place, collaboration, education, history, and innovation.

We welcome proposals that engage with traditional practices, contemporary approaches, interdisciplinary experimentation, and emerging perspectives from around the world.

Applications are now open for:
Paper / Panel Presentations
Technical Demonstrations
Exhibitions
Student Lightning Round Presentations
Official IMA Juried Exhibition (Application through SlideRoom)

With the exception of the Official IMA Juried Exhibition, all selected participants are expected to register for the conference and attend in person. Applicants are welcome to submit multiple proposals, although those selected for more than one category will be asked to choose a single presentation opportunity to maximize participation across the conference.

In addition to the competitive calls, all registered conference participants will have opportunities to take part in the Official Print Exchange, Open Portfolio, and Workshops through the conference registration process. Registration for the conference will open later this year.

Key Dates
July 2026 – Calls for proposals open
October 5, 2026 – Deadline for Paper & Panel Presentations, Technical Demonstrations, Exhibitions, and Student Lightning Round Presentations
November 30, 2026 – Deadline for Official IMA Juried Exhibition submissions
November 2026 – Notification of acceptance for presentations, demonstrations, exhibitions, and student presentations
January 2027 – Notification of acceptance for the Official IMA Juried Exhibition
May 26–29, 2027 – 6th International Mokuhanga Conference

Whether your work investigates sustainable practices, expands the boundaries of mokuhanga, explores its history, develops new pedagogical models, or experiments with emerging technologies, we encourage you to share your ideas and contribute to this international exchange.

Please visit the conference website to review the complete guidelines and submit your proposal:
https://2027.mokuhanga.org/
We look forward to welcoming the international mokuhanga community to Lawrence, Kansas, in May 2027.

Sincerely,
International Mokuhanga Association (https://mokuhanga.org/)

Hands-On Lithography Workshop
November 4-6, 2026
Instructors: Christopher Wallace and Christina Taylor

This workshop introduces non-artists, such as conservators, print scholars, and a range of art professionals to various lithographic processes and techniques commonly utilized by artists and studios, historically and up to this day. Lithography is a complex, chemical printmaking process that requires firsthand experience to fully grasp the technique and potential artistic applications. Hands-on techniques covered in the workshop include stone lithography (additive and reductive), plate lithography, pronto plate (color lithography), transfer lithography, and photolithography. The curriculum consists primarily of hands-on printing activities at Second State Press but will also include lectures, close-looking at prints, and group discussions in the Philadelphia Museum of Art’s Study Room and Paper Conservation Lab.

The instructors of the workshop are a conservator (Christina Taylor) and artist/lithographer (Chris Wallace), and this combination offers a special opportunity to merge the perspectives of museum and art professionals.

General Schedule:
Day 1 (Second State Press, 9am-5pm): introduction/lectures and hands-on printing in print studio
Day 2 (Second State Press, 9am-5pm): hands-on printing in print studio
Day 3 (PMA, Study Room and Paper Lab, 9am-5pm): print exam/discussion
Each day we will take breaks and have an hour allotted for lunch.

Registration:
Registration fee for participants: $400
Includes all materials and coffee breaks/snacks. Lunch not included. Participants are responsible for their own travel and lodging. The workshop is limited to 12 participants.

Please reach out to Christina Taylor (printstudioschool@gmail.com) to register or with any questions.

We’re recruiting our next Curatorial Project Coordinator, Prints & Drawings.

The Curatorial Project Coordinator supports daily operations of the Prints and Drawings Department (Achenbach Foundation for Graphic Arts). This role assists curatorial staff in all areas, including collections records, bibliographic and biographical records and files, research for exhibitions and publications, loans, and general curatorial inquiries.

This is a 1-year fixed-term position, November 2026 - November 2027. The application deadline is Friday, September 25, 2026, 9 PM PST.

Read more and apply here:
https://workforcenow.adp.com/mascsr/default/mdf/recruitment/recruitment.html?cid=4902ad8d-5f90-407d-a266-97e4567c890b&ccId=19000101_000001&jobId=573512&lang=en_US

Seeking additional venues--especially on the west coast--for the exhibition, "Press and Pull: Two Decades at the Robert Blackburn Printmaking Workshop," funded by the Terra Foundation for the Arts and supported by Teiger Foundation and organized by Essye Klempner and Jazmine Catasús from the Robert Blackburn Printmaking Workshop (RBPMW), a program of the Elizabeth Foundation for the Arts.

In 1947, at a time of deep racial segregation, Blackburn founded The Printmaking Workshop in New York City—one of the first interracial, community-based print studios in the United States. Drawing on his formative experiences in Works Progress Administration (WPA) art centers and Harlem's independent artist-run studios, Blackburn created a space devoted to artistic exchange, experimentation, and mutual support.

Artworks include highlights from the Print Archives, a collection of prints including Romare Bearden, Charles White, Robert Blackburn, Faith Ringgold, Camille Billiops and Betty Blayton - contemporary artists include Chakaia Booker, Nontsikelelo Mutiti, Kameelah Janan Rasheed, Dindga McCannon, Baseera Khan and Elliott Jamal Robbins. We also have an interactive educational online platform of the recently completed _The Only Thing That Lasts: An Oral History of Robert Blackburn’s Printmaking Workshop_ funded by Hauser & Wirth Institute and supported by the Dedalus Foundation to be acquired by the Archives of American Art, Smithsonian Institution.
___
The exhibition premiered at the James Gallery CUNY Graduate Center Sept 9 - Nov 15, 2025; opened at MassArt Museum of Art Jan 29 - May 31 2026, and opens at the University of Illinois, Chicago - Gallery 400 this September.

Sliding scale $7,500-$16,000 & Sqft. 1,500 - 2,500.

Full color | Monacelli Catalog - Fall 2027 | Contributors include Adrienne L. Childs, Howard Singerman, Yelena Keller, among others.

In many respects, Rembrandt van Rijn and Peter Paul Rubens could hardly differ more: Dutch vs. Flemish; Protestant vs. Catholic; homebody vs. international diplomat. The divergent identities and milieux of these two iconic Netherlandish contemporaries are reflected in their distinct artistic styles. Broadly speaking, where Rembrandt is intimate and particular, Rubens is monumental and classicizing. The two artists take equally antithetical approaches to printmaking. Hailed as the quintessential peintre-graveur, Rembrandt produced over three hundred etchings after his own designs, while Rubens may have made only one. Instead, the Flemish master commissioned a team of skilled engravers, etchers, and woodcutters to translate his designs into print. Despite the obvious differences between these two artists who never met, some have argued that Rembrandt borrowed from Rubens particular motifs and compositions, workshop practices, and even the concept of printmaking as a means to disseminate his work. Could it be argued that influence flowed in the other direction as well, with printmakers in Rubens’s studio adopting some of Rembrandt’s innovations?

In preparation for a museum exhibition devoted to the prints of Rembrandt and Rubens, this panel welcomes perspectives from both museums and academia that interrogate the oppositions and similarities between the printmaking practices of these two artists. Papers could consider such topics as the relationship between prints and the artists’ work in other media; the concept of the “reproductive” print in each artist’s oeuvre; the role of assistants and the studio; artistic rivalry and influence; intended audiences and the art market; and each artist’s legacy for subsequent generations of printmakers. Panelists with interest in museum exhibitions could suggest groupings of prints, imagine design layouts, or propose visitor engagement strategies that would illuminate the unique contributions of these two titans of the seventeenth century.

To submit a paper proposal, please send a 300-word abstract and a 1-page CV to Holly Borham at holly.borham@blantonmuseum.org by September 15, 2026.

Discourse on the media-reflective and metapoetic dimension of Rembrandt's work has largely focused on the artist’s painting practice. What happens when this methodological attention shifts to Rembrandt’s etchings? His extensive graphic oeuvre has typically been examined through the lens of connoisseurship and/or material analysis, with particular emphasis on the numerous reworkings and states.

This panel proposes an approach that is intended to complement the existing method with a focus on the topoi at work in Rembrandt’s etching practice. Etching involves a sequence of interdependent processes: the preparation of a metal plate coated with a resist, the incision of lines with a needle that exposes the surface beneath, and the controlled action of acid that bites into the plate to varying depths. Revisions may further be carried out directly on the plate using tools such as the burin. These stages introduce elements of resistance, delay, and contingency, as the final image emerges through chemical transformation rather than direct application. The resulting prints can be understood as sites of environmental encounter, where perception is mediated through processes that register the intra-action between bodily gestures, material resistance, and natural forces. The artist’s body engages in dynamic exchange with its environment, foregrounding etching as a medium through which human and nonhuman agencies become entangled.

In the spirit of this question, we welcome papers that approach Rembrandt’s etching as a relational technique shaped by human and environmental agencies, and as a site of experienced “Nature” and environment.