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.

The Association of Print Scholars invites applications from graduate students and early-career scholars to participate in the upcoming “Objects of Study: Paper, Ink, and the Material Turn” symposium, to be held in Philadelphia from March 30th to April 1st, 2017. APS will provide funding to offset travel and lodging costs so that a scholar can participate in the symposium’s three closed workshop sessions, which will be interspersed with public panels. Workshops will feature hands-on demonstrations of papermaking processes, close study of works in the collection of the Philadelphia Museum of Art, and technical sessions in the PMA’s paper conservation lab. We invite applications from scholars of works on paper, broadly defined and from any temporal or regional focus, whose work engages or challenges issues of materiality. Emerging scholars who are currently enrolled in a Ph.D. program, or who received their Ph.D. within the last five years, are welcome to apply.

Please send a short statement of interest (300 words maximum) that details how and why participating in the symposium and its workshop sessions will contribute to your current work, along with a CV to info@printscholars.org by January 31. Please contact info@printscholars.org with any questions about applying.

About the Symposium
For more information and to register, please visit http://www.objectsofstudy.com/.

To begin addressing the symposium’s driving questions, participants will present “materialist” case studies of 20 minutes in length, and then to devote at least 5 additional minutes to explicitly addressing how “materiality” operates in their work. What are the analytic goals of a materially focused account? Where and how does such an inquiry begin? And, finally, how do those aims and methods relate to the field’s broader material turn? Talks may engage these questions in relationship to works on paper across time, and from any geographic origin.

Confirmed speakers include:
· Nancy Ash, Philadelphia Museum of Art
· Cathleen A. Baker, University of Michigan Library
· Julie Nelson Davis, University of Pennsylvania
· Michael Gaudio, University of Minnesota
· Barbara Heritage, Rare Book School at the University of Virginia
· Daniel Heyman, Pennsylvania Academy of the Fine Arts
· Christopher Heuer, the Clark Institute of Art
· Shelley Langdale, Philadelphia Museum of Art
· Barbara Mundy, Fordham University
· Jennifer Roberts, Harvard University
· Elizabeth Savage, Institute for Advanced Studies, University of London
· Madeleine Viljoen, New York Public Library

Please contact Juliet Sperling at julietsp@sas.upenn.edu with any questions about the symposium.

CFP: Collaborative Printmaking Across Cultures and Times
Association of Print Scholars session at CAA 2017
Chaired by Jasper van Putten, Harvard University
Deadline for submissions: March 31, 2016

Printmaking, from its earliest to its most recent expressions, has generally been characterized by collaboration. This panel explores the impact of collaboration on the artistic practice of printmaking across various cultures and times. In the West, renaissance printmaking was characterized by divisions of labor that designated specific tasks of professionals. Designers, woodcutters, engravers, printers, and publishers indicated their respective role on the prints they helped produce with designations such as invenit [invented], delineavit [traced/delineated], or excudit [printed/published]. The production of Japanese woodcuts in the nineteenth century was similarly defined by collaboration and specialization. Generally, publishers commissioned drawings from artists, which were transferred to wood, cut, and printed by specialized craftsmen on behalf of the publisher. Collaboration also characterized much of the printmaking in the modern period, despite the emphasis on artistic individuality in this time. Artists like Édouard Manet, Pablo Picasso, and Robert Rauschenberg produced some of their most celebrated prints in collaboration with master printmakers. More recently, digital social networks have opened up completely new venues for artistic collaboration. As technology has made sharing of images and ideas faster and easier than ever before, it stands to reason that artistic collaboration also changes.

Scholars have studied the more famous collaborations in the history of printmaking in great detail. Still, the impact of collaboration on artistic practice is often overlooked. Blockbuster shows especially tend to focus on famous artists and neglect the vital contributions of other individuals. How did the contributions of craftsmen, patrons, publishers, and agents impact the prints they helped produce and disseminate? How was their relative input valued and remunerated? To what extent can we interpret prints as the products of networks of different makers? Answers to such questions will differ from time to time and from place to place. This panel seeks to further our understanding of collaborative printmaking by seeking submissions engaging these issues from any culture and era. Side-by-side, these papers will highlight commonalities and differences with the aim to obtain unexpected insights. Especially welcome are contributions that make use of network theory to account for the total range of actors involved in collaborations. Also of special interest are papers that engage the role of digital tools and social networks in facilitating collaborations in contemporary printmaking.

Please send an abstract of 250 words or less and a CV to Jasper van Putten (jaspervputten@me.com) and info@printscholars.org by March 31, 2016.