The Association of Print Scholars (APS) invites thematic proposals for its sponsored panel at the 2027 College Art Association (CAA) Annual Conference to be held in New York, NY, 03-06 February.

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.

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.

If you are interested in chairing a panel, please submit a title, 250-word abstract, and 2 page CV by 20 April 2026 to caacoordinator@printscholars.org.

Please note:
The College Art Association’s Annual Conference is scheduled to take place in New York, however there is the possibility of a hybrid virtual component.

SECAC 2026
Abstracts due: April 6, 2026

This open session invites research of any art historical topic that spans the long eighteenth century.
Particularly welcome are papers that address global interactions, highlight artists or mediums that have been historically overlooked, or challenge disciplinary norms. Papers may focus on, but are not limited to, visual and material culture of the eighteenth-century, the reception and historiography of eighteenth-century art, pedagogy in the eighteenth-century classroom, or disciplinary concerns for eighteenth-century art. Scholars of all career stages are encouraged to apply.

Submit your abstracts by April 1 at secacart.org.

SECAC, October 21–24, 2026
Abstracts Due: April 6, 2026

Since the 18th century, printed text and illustration enabled viewers to travel virtually, populating landscapes with imagined histories and images. Across genres, these specters began to inhabit contemporary spaces, transforming the living landscape into a palimpsest where traces of past human creativity could be encountered asynchronously. This session invites papers that examine how ghosts, specters, and traces, literal or metaphorical, mediate human experience across historical and technological contexts. We are especially interested in how evolving technologies over the past two centuries have reshaped our understanding of presence, authorship, and authenticity.
Possible topics include: literary haunting and historical memory; virtual travel; imagined geographies; spectral authorship; the afterlives of texts, anxieties about AI and artificial creation; digital ghosts and archives; ethics of resurrecting voices/bodies/ideas through technology. By foregrounding ghosts and specters as critical frameworks, this panel seeks to explore how textual, visual, biological, or digital traces continue to shape how we understand creativity, history, and human presence in a world of fluctuating technological mediation.

Please upload abstracts to the submission portal by Wednesday, April 1: https://secacart.org/page/WinstonSalem2026

Email questions about the session to Laura.golobish@bsu.edu and nephillips@bsu.edu

The Historians of Eighteenth-Century Art and Architecture (HECAA) invite emerging scholars studying the art, architecture, and visual culture of the long eighteenth century (c. 1660-1830) around the globe to participate in a virtual showcase to promote their research. Each scholar will be given 3-5 minutes to present their work, followed by an open question and answer session.

We currently plan to hold our session in March or April 2026, in conjunction with presenters' schedules. Applications are due by Saturday, January 24 at midnight (EST).
PLEASE VISIT THE LINK BELOW TO SUBMIT YOUR ABSTRACT.

Direct any questions to Sarah Lund: hecaa.emergingscholarsrep@gmail.com

Eligibility:
- Emerging Scholars may be current graduate students (MAs or PhDs) and early career researchers who have received their PhDs in the past five years.
- Emerging Scholars may participate more than once with different projects, different aspects of the same project, or an “update” on how the project develops. However, we ask that presenters apply no more than once every three years to allow for as many individuals as possible to participate.
- Please note that you do not have to be a member of HECAA to apply to participate in the Emerging Scholars Showcase.

CALL FOR CONTRIBUTIONS
EDITORS: Natalie Phillips and Cindy Torgesen
Deadline for abstracts: Monday, March 2nd, 2026 5:00pm Eastern Time

Birth, care, and maintenance have long been framed as “women’s work,” often rendered invisible, undervalued, and sanitized in visual and cultural representation. Yet they are also profound sites of creativity, power, and resistance. Labor Pains: The Art and Politics of Reproductive and Domestic Work invites essays that examine the visual cultures surrounding pregnancy, childbirth, parenting, and domestic or reproductive labor, from the sacred to the taboo, the everyday to the spectacular.
This edited volume seeks contributions that trace how artists, designers, filmmakers, and activists in the twentieth and twenty-first centuries have represented, contested, and reimagined the labor of making and sustaining life. We welcome work grounded in art history, visual and material culture, media studies, design history, performance, and feminist or queer theory. Essays might explore how artistic practices have visualized reproductive autonomy, the economies of care, and the politics of cleanliness, domesticity, and the body. We especially encourage intersectional and transnational approaches that address how race, class, sexuality, and disability intersect with reproductive and domestic labor.

Possible areas of focus include but are not limited to:
- Artistic and activist interventions around childbirth, parenting, or reproductive justice
- Histories of maternity, midwifery, and maternal health in visual culture
- Representations of domestic or care labor
- The aesthetics of cleaning, maintenance, and domestic technologies
- Visual rhetorics of gendered labor, intimacy, and bodily discipline
- Reproductive technologies, biopolitics, and ecofeminist perspectives
- Art practices engaging fertility or loss
- The proposed length of each chapter will be 6000-8000 words.

Please send your 300-word abstract and a short bio to both Natalie Phillips nephillips@bsu.edu and Cindy Torgesen at cetorgesen@ung.edu
Deadline for abstracts: Monday, March 2nd, 2026 5:00pm Eastern Time

Undergraduate students are invited to submit abstracts for a 10-minute talk on any art historical topic of their choosing. We welcome research informed by any and all theories and methodologies and encourage interdisciplinary exploration.
Submissions may include a version or part of an undergraduate thesis, an exceptional course paper, or independent research.
Please send your title and abstract of no more than 300 words to Professor Keely Heuer at heuerk@newpaltz.edu.

Note: A bibliography is not necessary. Your submission should also include your name, your major, academic year, institutional affiliation, and email. Students will be notified by the end of February 2026.

Amélie Folliot, Louise Quentel and myself, doctoral students in Art History at the universities of Rennes and Poitiers in France, along with our thesis director Ms. Estelle Leutrat, are organizing a one-day symposium called Rethinking Early Modern Print Today: New Questions & New Approaches, that will be held on 24 September 2026 at the University of Poitiers. We are really happy to share with you the call for papers for this event, details of which can be found below and in the attached document.

The symposium aims to bring together established researchers, early career scholars, PhD candidates, and students — in art history or related disciplines — to present and discuss current research and perspectives on prints in the early modern period (15th - 18th centuries). It seeks to provide a forum for exchange devoted to recent approaches and ongoing projects, whether they focus on the practices and techniques of printmaking, on its networks of production, circulation, and exchange, or on the place of the printed image within visual and material culture.

Presentations, lasting around twenty minutes, may address, without geographical restriction, any aspect of the production, circulation, or reception of prints, from historical, artistic, material or theoretical perspectives. As part of the “Creation, Corpus, Heritage” program of the Interdisciplinary Research Center for History, Art History, and Musicology, the symposium will take place at the University of Poitiers and will also be available via videoconference.

Submission guidelines:

Please submit an abstract with a title (in French or English) of no more than 2,500 characters (including spaces) and
 a short biographical note (institutional affiliation, contact details, and research topic(s)) by february 16, 2026 via: je.rechercheestampe@gmail.com

CFP | Undergraduate Symposium: New Work in Material Culture Studies

Deadline: November 29, 2025
We invite undergraduate students who have taken classes in material culture studies, art history, design history, fashion studies, museum studies, and related disciplines to submit abstracts for fifteen-minute presentations that will share new research in our dynamic field. We especially welcome studies grounded in a specific object or set of objects.
 
To submit a proposal for a presentation, email the following materials as a single Word document to Professor Joseph H. Larnerd at JHL73@drexel.edu by 11:59pm EST on November 29, 2025:
 
Page #1: a cover page that includes your name, the title of your proposed paper, your
university/college, and your academic major and year of study
 
Page #2: a 200-word abstract that introduces your object(s), foregrounds your paper’s thesis and/or central interpretation, and briefly explains how you intend to support it
Your proposal should be double spaced and in 12 pt. Times New Roman font. The document name and subject of your email should read as follows: “H-MC Symposium Abstract—Your Last Name.”
 
Proposals will be reviewed by a panel of scholars active in the field of material culture studies who will also serve as session respondents. Authors of selected abstracts will be notified by December 13. If you have any questions or concerns, do not hesitate to email JHL73@drexel.edu.
 
HECAA member Emily C. Casey (University of Kansas) will be presenting the keynote lecture at this event, and encourages those members with teaching appointments to share this opportunity with students!

2026 Graduate Student Art History Symposium: "'Ghost Stories for Grown-Ups': Hauntings, Afterlives, and Reawakenings"
Washington University in St. Louis, February 13–14, 2026
Deadline: December 8, 2025

The Department of Art History and Archaeology at Washington University in St. Louis is seeking papers for its 2026 Graduate Student Art History Symposium (GSAHS). The theme of the symposium is "'Ghost Stories for Grown-Ups': Hauntings, Afterlives, and Reawakenings" and the event will be held in-person on our campus in St. Louis on February 13–14, 2026.

While working on the Mnemosyne Atlas (1925–1929), Aby Warburg characterized his art historical practice as a “ghost story for grown-ups.” As scholars, we are often all too familiar with recurring images, motifs, and ideas that persist in the canon or emerge from the archive as if of their own volition. Similarly, many communities have their own traditions and tales of spirits or spectral encounters that linger in visual culture. Many studies across the humanities have attended to the culture of the afterlife, both literally and figuratively. In his book Specters of Marx (1993), Jacques Derrida introduced the theoretical framework of “hauntology” to consider elements of the social and cultural past that endure and reappear in a manner of ghostliness. Furthermore, sociologist Avery Gordon contends that such hauntings are an index of “dispossession, exploitation, and repression” that reemerge in order to demand being addressed. This symposium seeks to lift the veil by critically engaging with hauntings, afterlives, and ghostliness as both cultural phenomena and a conceptual model for art historical inquiry.
We invite current and recent graduate students in art history, archaeology, visual culture and related disciplines to submit abstracts for this symposium. Submissions may explore aspects of this theme as manifested in any medium, historical period, cultural, and geographical context.

Keynote Speaker: Dr. Patrick R. Crowley, Associate Curator of European Art at the Cantor Arts Center, Stanford University

We welcome potential topics from any time period/geographical area that contend with ghosts, phantoms, spirits, or hauntings, including but not limited to:
• Spirit photography
• Ghosts, spirits, and demons in historical folk and religious art
• Spectral images in theatre and cabaret performances
• Paranormal and horror cinema
• The afterlives of artworks, motifs, notable figures, or ideas
• The persistence and/or reemergence of repressed peoples, beliefs, and images
• Art made in the wake of war, genocide, or tragedy
• Mausoleums, tombs, memorials, or other elements of the built environment meant to connect the living with the dead
• The display of human remains, sacred relics, and objects that house spirits in museums, cultural institutions, and tourist attractions


To apply:
Submit a 350-word abstract and a CV in a single PDF file by Monday, December 8, 2025, to Jillian Lepek and Hannah Wier at gsahs@wustl.edu. Selected speakers will be notified by Friday, January 2. Paper presentations must not exceed 18 minutes in length and should be accompanied by a PowerPoint presentation. The symposium will be held entirely in-person at Washington University in St. Louis. Modest honoraria will be provided to student speakers to offset the cost of travel and accommodation.

In histories of art as in contemporary practice, we rarely consider where ink wiped off a printing plate ends up or how reams of trial proofs get recycled. When we celebrate end products of creation, we silence and conceal the flows of waste to which all making inevitably contributes. NET-ZERO PRESS, a new impact project funded by the University of St Andrews and led by Dr Ruth Ezra, Lecturer in Art History, aims to work with contemporary stakeholders, educators, and practitioners across the printmaking landscape of Scotland to "start from trash" as we trace waste flows in print shops and act on these data to propose strategies for making studio spaces (from classrooms to open-access workshops) less toxic and more sustainable.

To launch the project, a group of art historians, practitioners, and technicians will gather together for a workshop at Dundee Contemporary Arts (DCA) on Tuesday 21 October, 10:30 a.m. to 4 p.m. Our goal? To share stories from the print room floor.

Interested participants should prepare a 10-minute presentation wherein they tell the story of one material that features in their practice, tracking its lifespan from acquisition through consumption, transformation, and disposal. The tone is meant to be light and exploratory and the company, congenial. We will conclude the workshop with a guided tour of the DCA print room, with a focus on waste flows and reuse. Any artists presenting will be paid a stipend of four hours at the Scottish Artists’ Union rate, based on years of experience. An additional hour of comfort break/lunch will be provided as part of the day, as well as an optional closing half-hour of tea and chat. Local economy travel expenses (train/bus) to and from Dundee city will be reimbursed.

Interested? Email netzeropress@st-andrews.ac.uk with a description of your material; an 150-word summary of your object story; and a CV by 15 September 2025. Participants will be notified of acceptance by September 21. If you live outside of the UK but would like to attend in a virtual capacity, please also feel free to get in touch.

Learn more about the project: http://netzeropress.wp.st-andrews.ac.uk
http://linktr.ee/netzeropress