“Antillean art,” remarked St. Lucian poet Derek Walcott upon receiving the Nobel Prize for Literature in 1992, “is this restoration of our shattered histories, our shards of vocabulary, our archipelago becoming a synonym for pieces broken off from the original continent.” Walcott’s Nobel lecture, “The Antilles: Fragments of Epic Memory”, offers a compelling meditation on the interplay between art, history, and the archipelago as a space of fragmentation, multiplicity, and interconnectedness. In dialogue with Walcott’s reflections, Italian philosopher and politician Massimo Cacciari has framed the rise of early Cycladic culture in the Aegean Sea as the archetype of sociocultural relationality in Europe, inviting a reconsideration of the Archipelago as a model of geographical, as well as political negotiations.

As the eighteenth century witnessed the expansion of the trans-Atlantic slave trade and the anchoring of European empires across Atlantic, African, Indian, and Mediterranean archipelagic complexes, the insights of Walcott and Cacciari challenge us to rethink how eighteenth-century art and architectural practices in archipelagic spaces were shaped by tensions between isolation, connection, empire, displacement, autonomy, and exchange. While offering an opportunity to reconsider the intertwined histories of colonialism, slavery, and territorialism, focusing on archipelagic structures can help “decenter” Western narratives. An archipelagic perspective is also critical to understanding how island societies navigated and negotiated their cultural identities and agency outside, or in spite of, colonial structures.

This issue of Journal18 explores how archipelagic thinking informs the study of eighteenth-century art, architecture, and material culture. How might concepts of creolization, diaspora, and tidalectics, in the words of Kamau Brathwaite, reshape our understanding of artistic production and circulation? In the fragmentation of archival repositories, what can eighteenth-century objects and built environments made within archipelagic spaces reveal about the experiences of the people who lived there? How did eighteenth-century objects negotiate relationships between islands, oceans, and continents? How did artistic and architectural practices in the archipelago both reflect/reinforce and resist colonial power?

We encourage contributions that explore the metaphorical and material implications of the archipelago in artistic practices, cartography, and networks of exchange and use. We welcome interdisciplinary and innovative approaches to object study in the form of full-length articles or shorter pieces focused on single objects, interviews, or other formats.

Issue Editors
Demetra Vogiatzaki, gta/ETH Zurich
Catherine Doucette, University of Virginia

Proposals for issue #22 Archipelago are now being accepted. Deadline for proposals: September 1, 2025.

To submit a proposal, send an abstract (250 words) and a brief biography to the following email addresses: editor@journal18.org, cd2bv@virginia.edu, and vogiatzaki@arch.ethz.ch. Articles should not exceed 6000 words (including footnotes) and will be due for submission by February 1, 2026. For further details on submission and Journal18 house style, see Information for Authors.

The Association of Print Scholars invites submissions for the 2025 APS Publication Grant, supported by C.G. Boerner and Harris Schrank.

The APS Publication Grant supports the publication of innovative scholarly research about printmaking across all time periods and geographic regions. The grant carries a maximum award of $2,000 and is funded through the Association of Print Scholars and the generosity of C.G. Boerner and Harris Schrank.

Proposed projects should be feature-length articles, online publications or essays, exhibition catalogues, or books, which are nearing completion and publication. Please note that while publications may be in any language, proposals and all supplementary application materials must be submitted in English. Examples of possible uses of an APS Publication Grant include, but are not limited to, the following:

- Travel expenses for research essential to the completion of a manuscript;
- Studio time or courses in printmaking that will contribute significantly to a scholar's understanding of subject matter, or collaboration between printmakers and scholars;
- Funding assistance for photography and image permissions;
- Honoraria for contributors to edited volumes or other collaborative publications.

Successful proposals must address all of the following criteria, which needs to be consolidated into a single PDF document (12 pt. font, black text):

- Proposal narrative describing the scholarly project. Projects will be evaluated based on the clarity of the proposal and the originality and innovation of the applicant’s research (500-1000 words).
- Budget and budget narrative (250 words max.) detailing how grant funding will be spent. Please list any other grants for which the applicant has applied, including amounts and results if known.
- A detailed publishing plan, which should ideally include documentation of progress towards publication or the project’s likelihood of publication. This documentation could take the form of a letter from an editor, press, or publisher, or an outline of possible publishers and contact made thus far. Please note that applications with a publisher’s support will receive highest consideration for the grant.
- CV for all participant(s), no longer than 3 pages for each participant.



Applicants must be APS members and should send the above materials as a single PDF by August 31, 2025, to the APS Grants Committee at grants@printscholars.org. Successful applicants will be notified by November 1, 2025, and the grant must be applied to publication costs within one year of notification.

Recipient(s) will be required to submit a brief report after the project’s completion or six months after the disbursement of funds, whichever comes first. The report should be one page in length (approximately 500 words), describe how funds were spent, and detail the project’s results.

Please note that current APS officers, whether elected or appointed, may not apply for the APS Publication Grant during their service to the organization.

The California Printmaker | 2026 | Journal Call for Proposals

Accepting proposals now until August 30, 2025, from artists anywhere in the world regardless of CSP affiliation. No application or participation fees.

The California Society of Printmakers is soliciting proposals for the 2026 issue of The California Printmaker, “Raising Your Voice–Telling Your Story.”

Do you have a unique body of work that sends a message? Does your visual narrative focus on current or past events, your identity or your personal experience?

We would like proposals by you or your recommendation of other print artists (including their website) who could contribute to this topic.

Your work will be judged on its quality and how well it relates to this year’s theme.
If you are considered, your finished article (up to 1200 words with accompanying pictures) would be due November 1, 2025.

Proposals due:
August 30, 2025

Proposals should include:
• how your article will address the theme.
• outline or short narrative (about 200 words) in a word doc.
• 5 or more jpegs relating to your proposal content–do not embed images in a pdf
• website address.
• artist bio with contact information.
• please send a word doc and attach image files: no pdfs, no embedded images.


Submit proposals to:
Bob Rocco, Editorial Board, California Society of Printmakers
bobroccoart@gmail.com
www.caprintmakers.org

To view past issues of The California Printmaker visit:
www.caprintmakers.org/the-california-printmaker

https://www.caprintmakers.org/


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The California Printmaker, annual journal of the California Society of Printmakers, features articles and artwork from print artists worldwide. Each issue provides insight into the diverse perspectives shaping the global conversation on printmaking. Free access to our published journal is provided to the public digitally.

Identification of Photomechanical Prints

Lecturer: Hildegard Homburger
Language English
Participants: 8
Next dates: Berlin, 9.-10. October 2025
Fee 350,- € IADA-members
390,- €

Registration: h.homburge(at)t-online.de

The course is aimed at conservators, curators, registrars and archivists.


Content:
Within the total number of photomechanical prints, artistic works represent only a small part.

With the introduction of photography in the19th century, printers no longer had to transfer the image manually onto the printing surface, but were offered the possibility to transfer the image by sensitizing the printing surface and exposing it to light, through a negative or positive depending on the printing technique.
With computer technology, negative or positive film is often no longer necessary. The image is transformed into dots by the computer and the image is transferred to the printing surface by light exposure in the machine.

Since their invention photomechanical printing techniques have continued to develop further. There are many similar variations of the same technique, each named differently by its inventor. This can be very confusing in the process of identification.
In this seminar the most important photomechanical techniques of relief, intaglio, planographic, screen and digital prints will be presented.

The different techniques (artistic and reproduction) will be examined by studying original prints under magnification. Two participants will share a stereomicroscope. The distinctive characteristics of each technique will be worked out through close looking at the original prints, as exercises in identification.

The two-days course provides an opportunity to look at a great number and variety of original prints under magnification and to develop skills in the identification of their techniques. There will also be the opportunity to compare photomechanical with manual prints.

Identification of Prints

Lecturer: Hildegard Homburger
Language English
Participants: 8
Next dates: Berlin, 6.-7. October 2025
Fee 350,- € IADA-members
390,- €

Registration: h.homburger(at)t-online.de

The course is aimed at conservators, curators, registrars and archivists and others interested


Content
The artistic and industrial printing techniques undergo a constant development. Modern technology allows a great variety of relief, intaglio, lithography, screen and digital print. Therefore, the artistic prints can no longer be limited only to the classical techniques. Artists are using the new technical possibilities with interest. Therefore, in the identification of the artistic works we are also confronted with mechanical, mostly photomechanical techniques.

This two-day course focuses on manual artistic printing techniques. The individual printing techniques and their numerous sub-groups will be presented in detail with illustrated lectures.

As an extension, those photomechanical reproduction processes will also be included, with which confusion can occur.

In the practical part the two days offer the opportunity to look at a great number and variety of original prints under magnification. There are several stereo microscopes available. During these exercises the special characteristics of each technique will be worked out.

The course provides an opportunity to look at a great number and variety of original prints under magnification and to exercise the identification of their techniques.

Call For Entry, CSP at the Triton Museum | Expanding the Field; New Ideas in and Beyond Print.
Submission deadline: July 9, 2025.

California Society of Printmakers is partnering with the Triton Museum in Santa Clara, CA to highlight the power and possibilities of contemporary printmaking. This call aims to give printmakers the opportunity to showcase and exhibit their most innovative, and evolving work. Successful entrants will produce uniquely thoughtful imagery. Artwork will go beyond the traditional bounds of printmaking, in terms of technique, content, or concept. This exhibition seeks to encourage work that expands beyond the paper’s edge, extends off the wall, interlocks, or expresses in multiples, tells a great story, and propels what we consider printmaking.

This is a National Call for Entry on the callforentry.org platform; open to all artists working in the United States in any printmaking medium. Work must incorporate a form of hand pulled printmaking.

The juror will accept submissions based on the works unique vision, aesthetic depth, and innovative outcomes.
Selected artwork will be on view at the Triton Museum. The juror will choose a larger collection, up to 50 artworks, from the submitted entries to be shown on the CSP website. The number of works displayed at the Triton Museum is dependent on the size of the work selected and the museum’s main Warburton Gallery.

Link to submission application, full prospectus, restrictions and requirements:
https://artist.callforentry.org/festivals_unique_info.php?ID=15164

This call will be juried by Monique Martin.
www.moniqueart.com
x/insta: @moniquesart

Entry Fee: $35 for up to 2 artworks. CSP Members $25 for up to 2 artworks.
(includes .jpgs for 2 works, with allowance for 2 detail images and 1 video, per each piece of artwork)

Schedule of Important Dates
Submission deadline: July 9, 2025.
Exhibition dates: August 30, 2025–January 11, 2026
Submission deadline: July 9, 2025
Participants notified: July 29–31, 2025
Delivery / drop off: Aug 5-19, 2025
Opening reception: August 30, 2025
Artwork pick up: Beginning January 16, 2026

A video link will be announced to discuss all aspects and possibilities of this call: caprintmakers.org.

For reduced entry fee for CSP Members visit:
https://www.caprintmakers.org/2025/03/30/call-for-entry-csp-at-the-triton-museum/

Please email exhibitions@caprintmakers.org with any questions.

Call For Entry, California Society of Printmakersat the Triton Museum
Expanding the Field: New Ideas in and Beyond Print.
Submission deadline: July 9, 2025.

California Society of Printmakers is partnering with the Triton Museum in Santa Clara, CA to highlight the power and possibilities of contemporary printmaking. This call aims to give printmakers the opportunity to showcase and exhibit their most innovative, and evolving work. Successful entrants will produce uniquely thoughtful imagery. Artwork will go beyond the traditional bounds of printmaking, in terms of technique, content, or concept. This exhibition seeks to encourage work that expands beyond the paper’s edge, extends off the wall, interlocks, or expresses in multiples, tells a great story, and propels what we consider printmaking.

This is a National Call for Entry on the callforentry.org platform; open to all artists working in the United States in any printmaking medium. Work must incorporate a form of hand pulled printmaking.

Link to submission application, full prospectus, restrictions and requirements:
https://artist.callforentry.org/festivals_unique_info.php?ID=15164

The juror will accept submissions based on the works unique vision, aesthetic depth, and innovative outcomes.
Selected artwork will be on view at the Triton Museum. The juror will choose a larger collection, up to 50 artworks, from the submitted entries to be shown on the CSP website. The number of works displayed at the Triton Museum is dependent on the size of the work selected and the museum’s main Warburton Gallery exhibition space.

This call will be juried by Monique Martin.
www.moniqueart.com
x/insta: @moniquesart

Entry Fee: $35 for up to 2 artworks. CSP Members $25 for up to 2 artworks.
(includes .jpgs for 2 works, with allowance for 2 detail images and 1 video, per each artwork entry)

Schedule of Important Dates
• Submission deadline: July 9, 2025.
• Exhibition dates: August 30, 2025–January 11, 2026
• Submission deadline: July 9, 2025
• Participants notified: July 29–31, 2025
• Delivery / drop off: Aug 5-19, 2025
• Opening reception: August 30, 2025
• Artwork pick up: Beginning January 16, 2026

A video link will be announced to discuss all aspects and possibilities of this call: caprintmakers.org.

For reduced entry fee for CSP Members visit:
https://www.caprintmakers.org/2025/03/30/call-for-entry-csp-at-the-triton-museum/

Please email exhibitions@caprintmakers.org with any questions.

The Fondazione Giorgio Cini, Venice offers 9 residential scholarships to PhD students and postdoc students who must not be over 40 years old on June 30, 2025, interested in spending two consecutive months in Venice at the Vittore Branca International Center for the Study of Italian Culture between January and December 2026.

The residential scholarships are offered, within the interdisciplinary context that characterizes the Island of San Giorgio Maggiore, Venice to Italian and International scholars wishing to further their studies of Italian culture, especially that of the Veneto - in one of the following fields: art history, history of Venice, literature, musicology, ethnomusicology, drama, early printed books, comparative cultures and spiritualities, digital humanities.

Candidates shall propose a research topic preferably focused on the archives and documents at Fondazione Giorgio Cini, Venice.

The Archive of the History of the Venetian State contains not only a microfilm library of over 2 million slides reproducing material on the Venetian Republic kept in non-Venetian archives, but also collections of Italian and international books and periodicals on the history and culture of territories influenced by Venetian culture. It thus provides opportunities for detailed, multifaceted studies on the role played by Venice in European diplomacy.

Examples of specific themes that may be referred to are:

The “ego-documents”: papers of a lifetime. The “Tenenti” Bequest. Reconstructing Alberto Tenenti’s profile from a historical, intellectual and networking perspective.

Mixing and sharing ideas: arrivals, departures and in loco elaboration

The relationship between the Serenissima and the Holy See

The knowledge of the territory ruled by the government of the Republic – both on land and at sea – at Palazzo Ducale

Venice’s perception of the world “expanded” by discoveries, as a privileged observatory of changing horizons and therefore as an “eye on the world”

Venice defensive works between 16th and 18th century: Western Stato da Terra – Stato da Mar

The Murazzi sea defense

Enrolling convicts

Relics obsession

Religious places and building permits

Between persistence and innovation

Inquiries on Toponymy

Mercenary Eros

The pater familias

Cult of the dead

Self-celebration among noble families

Culture, arts and social differentiation

Venice and the Ottoman Empire

Application deadline: 30 June 2025

Cooper Hewitt, Smithsonian Design Museum is pleased to announce the forthcoming symposium Stradanus at Cooper Hewitt taking place on November 6-7, 2025.

Cooper Hewitt is home to 143 sheets of drawings and inscriptions by the Netherlandish artist Johannes Stradanus (Jan van der Straet, 1523–1605). With support from the Getty’s Paper Project Initiative and the Smithsonian Institution’s National Collections Program, Cooper Hewitt embarked on The Stradanus Project, an effort to conserve, research, and digitize Stradanus’s drawings, which served as preparatory designs for his engravings. At some point in their history, the drawings were bound together to form several sketchbooks that were later disassembled. The leaves were separated and cut apart, and the sheets were laid down on secondary and tertiary supports—perhaps as part of an album that was then again cut apart.

From 2021 to 2022, Cooper Hewitt conducted a conservation survey of all of its Stradanus sketches. Based on this information, the team selected 38 sheets for lining removal and treatment, which was completed in 2024. As a result of conservation work and research, drawings and inscriptions that have been obscured for more than a century have been newly revealed.

To share the discoveries, Cooper Hewitt has launched a website with high-resolution images of the treated drawings and reconstructed sketchbook sheets, an updated catalogue raisonné of the museum’s Stradanus holdings, transcriptions and translations of the newly revealed inscriptions, and detailed information about the conservation process:

The Stradanus Project
https://www.cooperhewitt.org/the-stradanus-project

We invite symposium submissions on Stradanus that draw from this new information and Cooper Hewitt’s holdings. Potential topics could include, but are not limited to:

Stradanus’s international artistic, publishing, and trade networks
Stradanus’s working methods and processes
The role of materiality and Stradanus’s use of paper
The afterlife of Stradanus’s drawings

High-resolution images of the treated sheets can be consulted on The Stradanus Project website. Images of all sheets in Cooper Hewitt’s collection can be found through the Cooper Hewitt’s Collections Highlights (https://collection.cooperhewitt.org/highlights/2318812519/).

Submission guidelines:
Please submit a 150–200-word abstract, along with CV and affiliation to stradanus_symposium@si.edu by June 15, 2025.

Participants will be notified by July 18, 2025. Honoraria will be provided for speakers.

The symposium will be free and open to the public. General registration will open in early September through Cooper Hewitt’s The Stradanus Project website.

The Stradanus Project is made possible with support from the Getty Foundation through The Paper Project initiative; and received Federal support from the Smithsonian Collections Care Initiative, administered by the National Collections Program.

Reporting to the Curator and Department Head of Prints, Drawings and Photographs, the
Assistant Curator will play an important role in helping to research, care for, and present over
68,000 works on paper housed within the Nancy Dorman and Stanley Mazaroff Center for the
Study of Prints, Drawings and Photographs at the Baltimore Museum of Art.

The Assistant Curator will serve as the content expert for all pre-1900 work in the collection. As
one of the largest works on paper collections in the country, the collection is currently known
for its strengths in European artworks, particularly the renowned Lucas Collection of 19th
century French art. In alignment with the BMA’s mission, the Assistant Curator will work to
expand the geographical breadth of the collection and center artists and histories traditionally
underrepresented in American art museums. Through exhibitions, written presentations, and
acquisitions, the Assistant Curator will also develop transcultural connections between the
BMA’s large collection of European works on paper and art from Africa, Asia, and the Americas.
As such, knowledge of European colonial histories will be helpful. Candidates with a background
in art of the Americas are particularly encouraged to apply.

The Assistant Curator will research object records for e-museum export, assist with annual
collection reporting, and assist with exhibition development, as assigned. Under supervision,
the Assistant Curator will be responsible for managing rotating installations of works on paper
in the permanent collection galleries. The position works closely and collaboratively with a
team of co-workers drawn from the Registration, Conservation, Marketing and Experience,
Education, and Exhibitions departments. The Assistant Curator will also help oversee activities
in the study room and participate in the day-to-day stewardship of the collection.

The position will have an active role in collections development and supporting the accessions
process, including researching and writing reports for proposed acquisitions, drafting scripts for
presentations, and helping to coordinate accessions committee meetings. The position will also
help promote greater knowledge of and research into the collection by liaising with
researchers, members of the public, and the university community; maintaining positive
relationships with internal and external BMA constituents, both locally and nationally; and
helping steward the department’s dedicated affiliate group, the Prints, Drawings &
Photographs Society.