The Association of Print Scholars invites thematic proposals for its sponsored session at the 2021 College Art Association (CAA) annual conference to be held in New York City, February 10-13, 2021.

The APS-sponsored session may be related to any period, theme, or aspect of print scholarship. We encourage proposals that transcend chronological or geographic boundaries, as well as those that engage current theoretical interests in materialism, archival theory, bibliographic studies, history of ideas, or social history, including feminisms and critical race studies.

If you are interested in chairing the panel, please submit a title and 250-word abstract that describes the subject of your session. Co-chaired sessions are welcome. Once the theme and chair of the panel are selected, this session will solicit contributors through CAA’s open call. Chair or co-chairs must be members in good standing of APS and CAA.

Submissions should include a CV and should be sent to Cabelle Ahn at: caacoordinator@printscholars.org

The deadline for consideration is April 15, 2020.

The Association of Print Scholars invites submissions for its sponsored sessions at the 65th annual Renaissance Society of America conference, to be held in Toronto, Canada, 17–19 March 2019.

APS-sponsored session proposals may be related to any theme of Renaissance and Early Modern printmaking, or any aspect of print scholarship for the era 1300–1700. Because RSA is a multidisciplinary society, we especially welcome session proposals that transcend geographic and disciplinary boundaries, as well as those that engage current theoretical interests in Renaissance printmaking’s historiography, materialism, archival theory, bibliographic studies, or social history.

Series of sessions in honor or in memory of an individual scholar are limited to two sessions per honoree. Co-chaired sessions are welcome; junior and senior scholars are encouraged to collaborate. Chair or co-chairs must be members of APS. You do not need to be an RSA member to submit a session proposal to APS, but all accepted participants must become RSA members for 2019 and register for the conference. Please note that proposing a session or a paper indicates your commitment to attend.

How to submit a session proposal for APS sponsorship: To propose an APS-sponsored session, please submit a session title and 250-word abstract that describes the topics and issues of printmaking that your session will address. Submissions should include a CV for each chair. Please indicate “APS-Sponsored session proposal RSA 2019 TORONTO” in the subject line, and send to info@printscholars.org.

Submission deadline for all session proposals:
Monday 30 July 2018 at 11:59 p.m. (U.S. Pacific Daylight Time).
Acceptance will be communicated to applicants by Friday 3 August 2018.

This panel seeks to investigate the racialized dimensions of print and printmaking. The medium has played a central role in the ideological founding of “race” and its hierarchies through visual representation. However, print’s materials, processes, and the language we use to describe them interface with conceptions of race in ways that require further study. For example, the term “stereotype” originated in the printing trade but has since evolved to mean an oversimplified general idea, often with pejorative racial connotations; the invention of chromolithography in the nineteenth century offered a more nuanced way of representing skin tones but simultaneously enabled the increased circulation of racist imagery; the rabid appreciation and collection of Japanese prints in the West altered artistic production globally while idealizing Eastern cultures; anthropological sketches and watercolor studies of native peoples were routinely translated to print, widely reproduced, and used as tools of imperialism and colonialism. Contemporary artists have responded to these historical issues: for instance, Glenn Ligon used the trope of a fugitive slave ad in his Runaways series (1993). Inviting papers related to these and other case studies, this session will consider how print and its study has implicitly upheld, revised, or challenged social constructions of race (including whiteness). This panel is geographically and chronologically open and will put mass images, fine prints, and bibliography from all periods in conversation to understand the medium’s material relationship to race on a global, transhistorical scale.

INSTRUCTIONS TO SUBMIT PAPERS/PROJECTS TO SESSION CHAIRS -------

Email the following directly to session chair(s) at miche355@umn.edu:

1. Completed session participation proposal form, (editable PDF, next page). Make sure your name appears EXACTLY as you would like it listed in the conference program and conference
website.
2. Paper/project abstract: maximum 250 words, as a single paragraph MS Word Document. Make sure your title and abstract appear EXACTLY as you would like them published in the conference program, Abstracts 2019, and the CAA website.
3. Email explaining your interest in the session, expertise in the topic, and availability during the conference.
4. A shortened CV (close to 2 pages)
5. (Optional) Documentation of work when appropriate, (as PDF) especially for sessions in which artists might discuss their own practice.

Panel Organizer ------------

Christina Michelon is a Luce /ACLS Fellow in American Art and a PhD Candidate in Art History at the University of Minnesota-Twin Cities where she is completing her dissertation “Interior Impressions: Printed Material in the Nineteenth-Century American Home.” Her work has been supported by the Smithsonian Institution, the Winterthur Museum & Library, the Center for Craft, Creativity, and Design, the American Antiquarian Society, and the Chipstone Foundation.

*View more information on how to apply via 'External Link' below.

APS is currently seeking new volunteers to act as Subfield Content Editors. Each position will be credited as an APS Officer and is for a one-year term, with the possibility of renewal.

Editors are responsible for seeking out and posting content related to their specific subfield of research/profession to the APS website (although editors can certainly post any print related content that they find). We are seeking applicants from a wide range of professions, who can represent a diverse geographical base, focused on four designated specialty areas, including:

- Old Master prints
- 18th and 19th Century prints
- Modern and Contemporary prints
- Artists/Studio Printmakers/Teachers/Other working professionals (freelance authors, gallery, auction, conservation, ...)

Editors are encouraged to actively contribute and share content with the APS network by finding any information related to prints that fits into one of the categories on the website, which include: News, Opportunities, and Scholarship. Potential content can be found via websites, email listservs, and other communities of which they are already a part.

The position requires only a minimal time commitment and a resource guide & training will be provided to new Editors. Editors should post a minimum of 1-2 listings a month, but more posts are always welcome!

Please email Elisa Germán at web@printscholars.org by June 15th if you are interested, and please indicate your field of expertise. Decisions will be made by June 30th.

The Association of Print Scholars invites thematic proposals for its sponsored session at the 2019 CAA conference to be held in New York, February 13-16, 2019.

The APS-sponsored session may be related to any period, theme, or aspect of print scholarship. We encourage proposals that transcend chronological or geographic boundaries, as well as those that engage current theoretical interests in materialism, archival theory, bibliographic studies, history of ideas, or social history, including feminisms and critical race studies.

If you are interested in chairing the panel, please submit a title and 250-word abstract that describes the subject of your session. Once the theme and chair of the panel are selected, this session will solicit contributors through CAA’s open call. Co-chaired sessions are welcome. Submissions should include a CV and should be sent to info@printscholars.org. Chair or co-chairs must be members in good standing of APS and CAA.

Organized by: Femke Speelberg, Dept. of Drawings and Prints, The Metropolitan Museum of Art
Session Co-sponsored by the Association of Print Scholars (APS)

One of the most revolutionary changes to the field of printmaking over the course of the long sixteenth century was the growing role and influence of the print publisher. While still a rare, or almost undocumented phenomenon around 1500, by the turn of the following century the print market was largely controlled by individual entrepreneurs and well-established publishing firms. The business of print production necessitated new structures of organization, a division of labor and the creation of sales and marketing techniques that profoundly influenced choices of style, technique, subject matter and formatting, as well as taste and collecting practices.

While neglected in early print scholarship in favor of the artistic contributions of the inventor and or printmaker, in recent years much new information about the role of the publisher has come to light through conferences, exhibitions and publications. Much of this work is (by necessity) of monographic nature, focusing on individual publishers and their output. This session seeks to highlight in particular new research that further elucidates the wide-ranging functions performed by the early-modern print publisher, and through a combination of papers expand our comprehension of the local, national and transnational influence of this new profession on the print market.

Papers are encouraged to focus on:

— Early print publishers and entrepreneurs

— Specialized publishers

— Publishers commissioning prints

— Working relationships between publishers and printmakers

— (Exclusive) Collaborations with individual artists

— Publishers shaping the print market / collecting practices

— Publishers influencing format / specialized subject matter

— Publishers sourcing prints from elsewhere

— Networks of Print Publishers

— Rivalry and Competition between Print Publishers

— Selling techniques

— A Publishers Print stock and stock lists

Please submit an abstract (max. 200 words) and a brief bio (not to exceed 300 words) to Femke Speelberg (Femke.Speelberg@metmuseum.org) by March 15, 2018. Papers will be chosen for one or possibly two sessions to be held during the annual meeting of the Sixteenth Century Society in Albuquerque, New Mexico. You will receive notification from the conveners by April 2, 2018.

The International Fine Print Dealers Association (IFPDA) and APS are seeking graduate students and early-career scholars interested in giving guided tours to small groups during the annual Fine Art Print Fair, from October 26 through October 29.

Tours will take place at the Javits Center (655 W 34th St) and will last no longer than one hour. Applicants with availability on the evening of Friday, October 27, are of particular interest. Specialists in any subfield are welcome to apply, and tour guides will receive a honorarium ($150) for their participation.

If interested, please send a CV and an email with your availability to info@printscholars.org no later than September 29.


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“Now you see it, now you don’t: Materialism and Ephemeral Prints”
Chair: Yasmin Amaratunga Railton, PhD

Ed Ruscha’s 1969 print portfolio Stains signifies a paradigm shift in the artist’s practice, marking a departure from painting in favour of experimental printmaking using ephemeral materials. An experiment in West Coast Conceptualism, each of the portfolio’s seventy-five pages of cotton paper was permeated with an unusual pigment, which included Los Angeles tap water, Coca-Cola, sulphuric acid, and human blood.

This session will explore the material culture of ephemeral prints. Research into the production, function, and reception of ephemeral materials in printmaking has recently become a fertile line of enquiry. From the early modern period, such as the use of blood in early color printing, to artistic interest in materiality in 21st century practices, recent theoretical approaches to matter offer new insight into the production and consumption of prints historically.

Contributing papers may range from all chronological and geographic areas related to print history. For this proposed session, contributors may put forward papers that investigate the relationship between artists’ choices of ephemeral materials and the theoretical rhetoric that dominated their practices. Papers that consider New Materialisms, object orientated ontology, or thing theory may offer new ideas of ephemeral matter. From a museology perspective, various models of institutional support that encompass archival repositories, preservation and conservation could be addressed. Focusing on the physical history of ephemeral prints, papers may investigate the conception, acquisition, condition issues and conservation. Technical conservation examinations of prints may illustrate the challenges presented by ephemeral pigments.

At the intersection of art history, museology, conservation, and archival theory, this session seeks to contribute new knowledge on materialism by situating ephemeral materials and printmaking practices within current art historical research and criticism.

Please submit your abstracts including a brief C.V. (two pages max.), and full contact information by August 21st 2017 to Panel Chair Yasmin Railton at y.railton@sia.edu

CAA Guidelines
- All sessions will be 90 minutes in length at CAA 2018. Please plan accordingly.
- All session participants must be current individual CAA members to participate in the Annual Conference. -
Please send us your CAA Member ID as this is a required field on the submission form. If you are not a current individual member, please renew your membership or join CAA.
- All session participants must also register for the conference.
- CVs are required for panel proposals.
- Session and paper/project abstracts should be no more than 250 words in length.