“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.

Women Printmakers in the Early Modern World
An APS-sponsored session for RSA 2026
Abstracts due: July 25

The history of early modern printmaking has long centered on male engravers and publishers, leaving the contributions of women largely overlooked and insufficiently theorized. Yet ongoing archival research and recent scholarship continue to recover names, works, and forms of labor that unsettle the conventional picture of how prints were made, circulated, and valued. Across Europe and beyond, women participated in the world of intaglio and woodcut not only as inheritors of family trades but also as brilliant amateurs or as anonymous contributors to the devotional image economy. Their presence complicates neat distinctions between art and craft, genius and labor, public and private spheres.

This session invites papers that center the work of early modern women printmakers (c. 1450–1700) in any geographic context. We welcome close readings of individual artists and works, as well as methodological or historiographic interventions that reflect on how and why women’s labor as printmakers has remained so difficult to see. Possible questions include—but are not limited to:

• How did women access the training, tools, or networks necessary to enter the world of printmaking?
• What kinds of images were women printmakers asked to produce—or found themselves producing—and how were these works received?
• In what roles did women participate in workshop economies, and what forms of collective or domestic labor supported their production?
• What critical frameworks might allow us to better apprehend this history and the absences that define it?
The papers, in English, should be 20 minutes in length. Scholars at any stage of their career are encouraged to apply. Travel support may be available thanks to Stanford University.

Please send the following materials to Emanuele Lugli, elugli@stanford.edu, and Rhoda Eitel-Porter, editor@printquarterly.co.uk by July 25, 2025:

• Paper title and Abstract (400 word max). The abstract should briefly cover the main points of the paper, including its research topic, the main findings and their significance.
• Full name, current affiliation, and email address
• Curriculum vitae (no more than 2 pages)
Notifications of acceptance will be sent by August 4, 2025.

For any questions, feel free to contact Emanuele Lugli or Rhoda Eitel-Porter

APS Sponsored Call for Papers:
Renaissance Society of America, Feb 19-21, 2026, San Francisco
Witchcraft and Magical Knowledge in Early Modern Print Culture

Positioned at the intersection of visual and textual culture, print played a critical role in shaping both imagined and institutional responses to magic, witchcraft, and the occult. Its advent in fifteenth-century Europe enabled the widespread circulation of texts and images concerning magic and witchcraft, ranging from demonological treatises and legal handbooks to illustrated broadsides, sensational pamphlets, and works of art by renowned early modern artists. Far from signaling a “decline” in magical thinking, this proliferation of printed material suggests a redefinition of the boundaries of magic, both as a practice and as a conceptual category. Print culture served simultaneously to document, disseminate, and delimit magical knowledge. It reflected emerging interests in classifying popular beliefs, integrating occult ideas into new natural philosophies, and asserted control over invisible forces through the apparatus of increasingly centralized religious and political authorities.

Organized in conjunction with the Cunning Folk: Early Modern Witchcraft, Magic, and Occult Knowledge exhibition at the Cantor Arts Center, this panel invites papers that explore how magic, witchcraft, and the occult were represented and contested through print. We welcome contributions that address a wide range of magical topics across early modern Europe and the Atlantic world. This can include papers that address the interplay between image and text in constructing magical authority, articulating fear or fascination, and/or legitimizing its control. Possible themes include, but are not limited to:

● Witchcraft, magic, and the supernatural in broadsides, ballads, and newsprints
● The aesthetics and materiality of grimoires and printed books of magic
● Relationships between the print culture of magic and painting, decorative arts, architecture, or other visual forms
● The printed/published visual rhetoric of witchcraft and demonology and its relationship to state or ecclesiastical power, including trials and punishment
● The representation of cunning folk and popular healing in print
● Artists and publishers as mediators of magical or occult imagery
● Magic, race, and colonial knowledge systems in transatlantic print culture
● Archival gaps and historiographical challenges in the study of printed magic
● New interpretations of specific witchcraft prints or illustrated books
● Presentations on exhibitions, curatorial activities, archival/library initiatives, conservation projects, or other museum practice with objects related to this theme

Papers should be in English and a maximum of 20 minutes in length. Presenters at any stage of their career are welcome to apply.

Please send the following materials to Sara Frier at sfrier23@stanford.edu, by August 1, 2025:

• Paper title and abstract (400 word max) with a summary of key conclusions
• Full name, current affiliation, and email address
• Curriculum vitae (no more than 2 pages)

Notifications of acceptance will be sent by August 4, 2025. For any questions, feel free to contact Sara Frier.

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.

Division of Prints & Drawings, National Gallery of Art

Thaw Colloquium on Connoisseurship

November 18-20, 2025


Call for Applications

The Thaw Colloquium on Connoisseurship is a biennial program designed to encourage the close examination and evaluation of the visual and material aspects of works of art on paper. Intended for early-to-mid career curators, curatorial research fellows, and paper conservators, the Colloquium consists of a three-day seminar at the National Gallery of Art led by its curatorial and conservation staff. It focuses on the Gallery’s collection of more than 120,000 print and drawings. The Colloquium is generously funded by the Eugene V. and Clare E. Thaw Charitable Trust.

This year, the Thaw Colloquium will address topics that relate to both prints and drawings from the 15th century to the present day. Topics to be considered will include: identification of materials, techniques, and process; intention and function; interpretation of condition; priorities for research and treatment; and strategies for acquisition. Further discussion will address methods of evaluating works in light of planning collection reinstallations and implementing new strategic collecting plans; the role of connoisseurship in the stewardship of collections; and recognizing how historical assumptions and biases affect curatorial responsibilities and decisions. This Colloquium is intended to be an interactive workshop that welcomes a variety of viewpoints and participants’ active participation.

Funding from the Thaw Trust will allow the National Gallery of Art to cover the cost of participants’ travel to Washington, accommodations, and select meals.

Requirements: Participants will have a demonstrated commitment to prints and drawings, including at least two years of curatorial and/or conservation experience with works on paper and advanced academic study concerning the graphic arts. Consideration will be given to applicants who have not had an opportunity to participate in similar training programs. Applications from curatorial and conservation candidates affiliated with institutions that do not offer wide-ranging resources for the technical study of works on paper are especially encouraged.

Applicants should send a curriculum vitae and letter indicating areas of interest or projects in progress; experience with works on paper collections; a list of training programs and/or workshops attended; and expectation of outcomes from this program by July 1, 2025, to:

Thaw Colloquium Coordinator

Division of Prints and Drawings

National Gallery of Art

connoisseurship@nga.gov



Applicants selected to participate will be notified of their acceptance to the 2025 Thaw Colloquium on Connoisseurship in early August 2025.

All qualified applicants will receive consideration for the training position without regard to race, color, sex, age, national origin, religion, disability, veteran status, marital status, citizenship, or any other protected status. The National Gallery offers equal opportunity and treatment to all who apply.