The Association of Print Scholars invites submissions for its sponsored sessions at the Renaissance Society of America conference, to be held in Chicago, Illinois from March 21-23.

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. RSA is a multidisciplinary society, and we especially welcome session proposals that transcend geographic and disciplinary boundaries, as well as those that engage current theoretical interests in 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.

You do not need to be a member of RSA to submit a session proposal to APS, but all accepted participants must become RSA members for 2024 and register for the conference. Please note that proposing a session or a paper indicates your commitment to attend.

Chair or co-chairs must be members of APS, however, please note that those currently serving as APS officers, whether elected or appointed, may not submit conference proposals for panels sponsored by the organization during their tenure, although are welcome to participate in the selected panel.

How to submit a session proposal for APS sponsorship:

To propose an APS-sponsored session, please submit your session title along with a 250-word abstract describing the topics and issues of printmaking that your session will address. Applicants do not need to propose a full panel of presenters in order to submit a session proposal. Submissions should include a two-page CV for each chair. In the subject line, please indicate “APS-Sponsored session proposal RSA 2024” and send to rsacoordinator@printscholars.org

DEADLINE:

Submission deadline for all session proposals is: Wednesday, May 31, 2023

Acceptance decisions will be communicated to submitters by Wednesday, June 14, 2023.

The 'Apelles-Problem'. Visualizing Antiquity. On the Episteme of Early Modern Drawings and Prints - I.

The academy project “Antiquitatum Thesaurus: Antiquities in European Visual Sources from the Seventeenth and Eighteenth Centuries”, hosted at the Berlin-Brandenburg Academy of Sciences and Humanities (https://thesaurus.bbaw.de/en), and the Zentralinstitut für Kunstgeschichte Munich (https://www.zikg.eu/) are organizing a series of colloquia in 2023-2024 on the topic “Visualizing Antiquity. On the Episteme of Drawings and Prints in the Early Modern Period.”

The significance of drawings and prints for ideas, research, and the circulation of knowledge about ancient artifacts, architecture, and images in Europe and neighboring areas from the late Middle Ages to the advent of photography in the mid-19th century will be examined.

The first colloquium inquires into a form of the ‘Apelles problem’: according to Pliny, the Greek painter knew how to depict “what lies outside the realm of painting.” Therefore, for the representation of ancient artifacts, the question is asked how in drawing and printmaking actually ‘unrepresentable’ qualities of the depicted object – such as color, material properties, proportions, three-dimensionality, and the like – can nevertheless be conveyed? In terms of colorfulness, for example, colored hand drawings have an advantage over prints, but they do not have the same range. Is an attached scale key sufficient to clarify dimensions? And what possibilities do new techniques of representation open up? Or can accompanying texts, commentaries, annotations, source citations, etc. do justice to the difficulties of depicting the above-mentioned characteristics, or help to classify and interpret the artifact depicted? These are some of the central questions posed; suggestions beyond these are welcome.

The following colloquia in the series will address other aspects of the creation of images of antiquity: “Find and Display, Fragment and Whole”; “Fake News? Fantasy Antiquities”, and “Collectors, Artists, Scholars: Knowledge and Intention in Collection Catalogs.”

Solicited for the first colloquium are papers in English, French, German, or Italian, 20 minutes in length, ideally combining case study and larger perspective. Publication in extended form is planned.

Travel and hotel expenses (economy-class flight or train; 2 nights’ accommodation) will be reimbursed according to the Federal Law on Travel Expenses (BRKG).

Place & time: Berlin-Brandenburg Academy of Sciences and Humanities, September 28–29, 2023.

Please submit your proposals (max. 400 words) until April 30, 2023, together with a short CV (max. 150 words) to: mailto:thesaurus@bbaw.de.

Conceived by Antiquitatum Thesaurus (Ulrich Pfisterer, Cristina Ruggero, Timo Strauch)

The Association of Print Scholars invites thematic proposals for its sponsored panel at the 112th College Art Association (CAA) Annual Conference to be held in Chicago, IL, February 14–17, 2024.

The APS-sponsored panel 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 a panel, please submit a title and 250-word abstract that describes the subject of your session. Co-chaired proposals are welcome. Once the theme and chair of the panel are selected, the panel 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 2-page CV and should be sent to caacoordinator@printscholars.org. The deadline for consideration is April 7, 2023.

Thank you and we look forward to your submissions.

The Historians of Eighteenth-Century Art and Architecture are delighted to announce that the Call for Papers for “HECAA@30: Environments, Materials, and Futures in the Eighteenth Century” is now available. Please visit the link below for a list of open sessions and details. Applications for participation are due to session chairs by April 1, 2023.

This in-person conference will take place in Boston, Cambridge, and Providence from October 12-14, 2023, with morning plenary sessions followed by gallery sessions, tours, and architectural site visits each afternoon.

On the land of the Massachusett and neighboring Wampanoag and Nipmuc peoples, Boston developed in the eighteenth century as a major colonized and colonizing site. Its status today as a cultural and intellectual hub is shaped by that context, making it a critical location to trace the cultural legacies of racism and social injustice between the eighteenth century and today. For whom is “eighteenth-century art and architecture” a useful category? What eighteenth-century materials, spaces, and images offer tools or concepts for shaping our collective futures? In considering these questions, we aim to expand HECAA’s traditional focus on Western European art and architecture and specifically encourage proposals from scholars working on Asia, Africa and the African diaspora, Indigenous cultures, and the Islamic world.

We welcome proposals for contributions to panels, gallery sessions, roundtables, and workshops. Scholars at any career stage, and all geographic and material specializations, are encouraged to apply. We look forward to seeing you in Boston!

The deadline for submitting articles for the Fall 2023 issue of Nineteenth-Century Art Worldwide is March 15, 2023. 
Founded in 2002, Nineteenth-Century Art Worldwide (NCAW) is a scholarly, refereed, open-access journal devoted to studying the art of the long nineteenth-century, from the American and French Revolutions to the outbreak of World War I. NCAW encourages examinations of visual culture across the globe, covering a wide range of topics with regard to makers, consumers, media, and points of view. Open to various historical and theoretical approaches, the editors welcome contributions that reach across national boundaries and illuminate intercultural contact zones in the broadest sense of that term.

NCAW also welcomes suggestions and contributions for digital art history projects and book and exhibition reviews, and for its featured sections Practicing Art History and New Discoveries.

Submission guidelines for articles can be found at the link below. 

For volume XV of Hemisphere: Visual Cultures of the Americas, we welcome submissions that focus on visual and material communication in the Americas from the ancient, Indigenous pre-contact period through European conquest and colonization and up to the present. Advanced graduate students enrolled in degree-granting institutions in the U.S. and abroad are invited to submit papers that examine Indigenous visual communication systems transhistorically and from a range of perspectives, including studies of later artists who emulate these forms of communication in their work.

The full call for papers, along with additional information can be found at https://digitalrepository.unm.edu/hemisphere/aimsandscope.html

Hemisphere: Visual Cultures of the Americas is an annual publication produced by graduate students affiliated with the Department of Art at the University of New Mexico.

Send completed materials to hmsphr@unm.edu.

Digital art history, word-image studies, architectural history, and book history meet in The Digital Piranesi, a developing digital humanities project devoted to the complete works of Giambattista Piranesi. With funding from the Kress Foundation, six collaborators will be invited to contribute to the project. Following an introductory in-person workshop in Columbia, SC, in late Summer 2023, regular virtual meetings through Summer 2024 will be dedicated to writing brief, impactful scholarly essays about each image in the first volume of his Roman Antiquities. Travel and accommodation will be supported by grant funds. Each image appears with original annotations and (in metadata) English translations here, below further information about the Kress-funded project.
Please send a cv and one-page statement detailing qualifications, experience, and interest to jbritton@mailbox.sc.edu by March 1, 2023.

The question of color has been at the center of artistic debates at least since the seventeenth century, and it has remained a key issue in the historiography of art. What may be at stake in reconsidering color in its historical dimensions now? Recent research on the issue has gone in two directions. On the one hand, color has been studied as a material substance and a technology. Scholars have documented the relation between technological, industrial, and commercial developments and the quality, range, and availability of pigments and colorants available to artists, manufacturers, and consumers. Another approach has focused on the key role of color in the construction of social, racial, and gender hierarchies. Recent scholarship has revealed the intimate connection between aesthetic debates on chroma and the development of the modern discourse of race. Moreover, the eighteenth century’s feminization of color entangled with the notions of make-up and artifice has been reexamined. Clearly, it is no longer viable to think of color in purely aesthetic, ideologically innocent terms.

This issue of Journal18 aims to consider how the current interest in materiality and the matter of art could be harnessed to alter–enrich, complicate, or challenge–our understanding of the historical functions and social and cultural meanings of color in the long eighteenth century. In what ways may the materialist discussion of color as a substance inflect the account of its ideological and discursive functions? What were the new meanings and effects of color as the physical product and sign of growing global trade networks, colonial and slave economies, and expanding empires? How did colored materials­­––pigments, dyes, feathers, shells, minerals––serve as tools of hybridity and a means to delineate cultural difference? Can color’s inherent capacity for infinite nuance offer modern art historians alternative lenses onto to the past? We welcome papers that are attuned to color’s mobility, look beyond Western Europe, and decentralize Euro-centric narratives. We are especially interested in papers that consider the broader methodological questions raised by their subject and seek to develop tools to address the urgent issues posed by color.

Issue Editors
Ewa Lajer-Burcharth, Harvard University
Thea Goldring, Harvard University

Proposals for issue #17 Color are now being accepted. Deadline for proposals: April 1, 2023.

To submit a proposal, send an abstract (250 words) and brief biography to the following three addresses: editor@journal18.org, burchart@fas.harvard.edu, and tgoldring@g.harvard.edu. Articles should not exceed 6000 words (including footnotes) and will be due by September 1, 2023. For further details on submission and Journal18 house style, see Information for Authors.

The Association of Graduate Art Students (AGAS) at the University of Georgia, in partnership with the Georgia Museum of Art, invites emerging scholars to submit proposals for papers that contribute to the discussion of new perspectives and interpretations on African American, Euro-American and Native American art. The symposium will be presented in conjunction with the traveling exhibition “Object Lessons in American Art: Selections from the Princeton University Art Museum,” on view February 4 – May 14, 2023.

Our symposium will expand the scope of the exhibition by using contemporary lenses to rethink preconceived notions of American visual and material culture. Conventional approaches to the art of the United States have often focused upon Eurocentric artists and consequently advanced colonizing perspectives on this material. Yet, America’s rich history gives way to new studies that break these long-standing conceptions and allow for more representation that is reflective of the diverse society of the past and present.

This symposium aims to enrich and reframe the Eurocentric traditions associated with American visual and material culture by advancing contemporary perspectives and considering American art in light of the pressing issues of our day. Such perspectives will afford new insights into US history and push forward experimental approaches for the future.

Our symposium encourages submissions that discuss specific works of art or themes related to “Object Lessons in American Art: Selections from the Princeton University Art Museum.”
Other relevant topics include but are not limited to:

- Women artists in America/the Americas
- Race, identity, and the role of African American and Native American artists
- Past and present diversity in American art
- Ecological and ecocritical approaches to American art
- Global and hemispheric perspectives on American art and the art of the Americas
- Expressions of American patriotism and imperialism

Current graduate students and other emerging scholars should submit abstracts (maximum 300 words) and an up-to-date CV to ldsoa.agas@gmail.com by December 30, 2022. Applicants will be notified of the committee’s decision by January 15, 2023.

Visit the link below for the symposium schedule.

In conjunction with the exhibition "Pressing Politics: Revolutionary Graphics from Mexico and Germany," on view from October 29, 2022 through July 22, 2023, LACMA and the Association of Print Scholars are pleased to convene a one-day symposium exploring the role of graphic art during periods of political transformation. The symposium will bring together scholars, curators, and conservators to examine the exhibition’s themes in a broader geographical and temporal context.


ABOUT THE EXHIBITION
"Pressing Politics: Revolutionary Graphics from Mexico and Germany" explores the shared subjects and visual strategies of two key moments in 20th-century political printmaking: the revival of German Expressionist graphics in response to a nationwide revolution in 1918, and the formation of the Taller de Gráfica Popular (People’s Print Workshop) in Mexico City in the late 1930s. Although rooted in distinct social and historical contexts, artists in both countries responded to their respective upheavals in print to communicate to a mass audience in forceful visual terms.

Examining direct and indirect points of exchange, "Pressing Politics" considers the iconographic precedents for these artists’ political imagery, the range of printed works they produced, and the conditions that gave rise to their art. Drawn primarily from LACMA’s collection, the exhibition underscores the enduring power of the printed image and highlights the contributions of Mexican and German artists to a global iconography of political graphics.


ABOUT THE SYMPOSIUM
The one-day convening will be held on April 29, 2023, at LACMA’s satellite gallery at Charles White Elementary School and will build on themes presented in "Pressing Politics: Revolutionary Graphics from Mexico and Germany." Expanding beyond Germany and Mexico, the symposium will consider the role of print media during times of revolution and social change from a global perspective in the 20th and 21st centuries. It will also explore questions related to the materials and processes of print production in these contexts. Proposals beyond the exhibition’s geographic scope are encouraged.

Topics may include, but are not limited to the following:
- The role of transnational political networks in the development of political graphics.
- The impact of the materiality of political prints on their meaning and reception.
- How digital technologies have transformed the material character and function of political graphics.
- The role of art collectives in graphic activism.
- The conservation of political graphics and ephemera, in particular the challenges of preserving modern political graphics and other ephemeral works on paper.

Proposed talks can also discuss graphics created in time-based or born-digital media.

Please send a 300-word abstract and a CV to events@printscholars.org by December 16, 2022. Notifications will be emailed in early to mid-January 2023. Funds for travel assistance will be available.

The exhibition is made possible with support from the Getty Foundation through The Paper Project initiative. Additional support for the symposium is provided by the IFPDA Foundation and the Robert Gore Rifkind Foundation.