The Journal of the California Society of Printmakers is presently soliciting proposals for the 2018 issue, entitled “The New Print: Marriage of Technology and Tradition.” We are interested in why printmakers in any field choose this combination and how new technology stimulates ideas. What is the new technology? What is traditional? We also want to focus on process, including methods and materials.

We would like proposals by print artists such as yourselves and are also seeking recommendations of artists (including their website) who could contribute to this topic. Artists are invited to write their own articles, or we will provide an editor to facilitate. We are also interested in any writer who wishes to partner with an artist in writing an article. Articles should be 800-1700 words, with accompanying pictures.

Deadline for proposals: August 28, 2017
- How your article will address the theme outline or short narrative
- Website showing work or 5 jpegs
- Artist bio with contact information
- Be sure you provide a 3-4 line summary and pictures relating to the focus of the article so we can judge everyone fairly.

Deadline for finished articles: November 1, 2017

You can send the proposal to avpike@cruzio.com

“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.

Conference: Art and Work
Department of Art History, Northwestern University, Evanston, IL
Date: February 8, 2018

Keynote lecture by Jasper Bernes

The Department of Art History at Northwestern University will hold a one-day graduate symposium on Thursday, February 8, 2018 on the topic of art and work. The symposium will span historical periods and geographic regions to investigate the history, politics, and aesthetics of artistic labor. Our proposal is grounded by historical and theoretical concerns with the social positions of art making, the artist, and work more generally. How do the social and technical conditions of labor in a given society determine the possibilities of its art, and how do artistic imaginaries of work help shape struggles around these very social conditions? What kinds of knowledge, expertise, skills, or discourses come to distinguish an artist from an artisan, engineer, or maker, or from a teacher, political official, or social worker? How and where do these distinctions emerge or dissolve both visually and historically, and how do they relate to other predominant social markers such as race, gender, and class? We see these questions as resonating across boundaries of period and national tradition, and are excited to see what might be learned from thinking within a wide historical frame wherein both art and work are contested terms.

We welcome papers that consider, among other topics, the aesthetics of work and/or non-work; the social position of the artist; the problem of aesthetic autonomy; or spaces of production and their representations—from the artist’s studio to the collaborative workshop, the laboratory, the home, the factory, and beyond. We are also interested in how representations of artistic production and exercises in (or negations of) artistic technique mediate ongoing processes of social transformation. We invite papers from any time period or geographic region by graduate students in art history as well as related disciplines.

Possible topics might include:

Depictions of studio, workshops, factories, spaces of production
Craft labor and handwork
Treatises and technical manuals
Artistic readymades or the absence of work
Histories of deskilling and automation
Aesthetics and political economy
Anti-work politics and aesthetics
Global precarity and flexible labor regimes
Reproductive labor, domestic work
Affective and care-based labor
Post-Marxist approaches to “immaterial labor”
Community and public art

Symposium speakers who do not reside locally will receive roundtrip economy airfare to Chicago/Evanston, accommodation for two nights in Evanston, and a travel stipend to cover ground transportation to and from the airport. Please email proposals to laurelgarber2015@u.northwestern.edu and brianleahy2020@u.northwestern.edu by October 1, 2017. Include in your proposal a 300-word abstract and a brief C.V. in a single PDF file. Selections will be announced in mid-October.

Printing and Misprinting: Typographical Mistakes and Publishers’ Corrections (1450–1600)

Lincoln College, Oxford, 20 April 2018
Convenors: Geri Della Rocca de Candal and Paolo Sachet

This one-day symposium – opening with a keynote lecture by Anthony Grafton (Princeton) – aims to explore the notions of typos and manuscript or stop-press emendations in early modern print shops. Building on Grafton’s seminal work, scholars are invited to present new evidence on what we can learn from misprints in relation to publishers’ practices, printing and pre-publication procedures, and editorial strategies between 1450 and 1600. The subjects of investigation may include texts, images or mise en page, of both incunabula and sixteenth-century books issued in and outside Europe, stretching from the output of humanist printers to wide-ranging vernacular publications.

Particularly welcomed are case studies and comparative analysis of:
•manuscripts, proof sheets or printed copies retaining publisher’s preparatory interventions for a new edition
•extant copies of a faulty edition which was corrected by the publisher more or less systematically
•different faulty editions by the same publisher and/or of the same text
•developments of printed errata
•contemporary sources (e.g. paratextual material, scholarly correspondence and treatises) discussing typographical mistakes and publisher’s corrections

This call is open to established and early career scholars as well as PhD candidates. Papers must be delivered in English, not exceeding 20 minutes in length. If you wish to take part in this conference, please send your CV and proposal (max 300 words) to printing.misprinting@gmail.com no later than 16th October 2017.

Significant women printmakers and publishers have long been relegated to footnotes or secondary status in national biography and academic canons. The organizers of this panel seek to recover the achievements of women in graphic culture. We invite papers on the role of women in the creation, production and circulation of prints in the long eighteenth century. We encourage interdisciplinary and global perspectives. Topics might address professional and amateur status, implications of genre and aesthetics or of technique and medium, and questions of legality, including libel and censorship among others.

49th American Society for Eighteenth-Century Studies (ASECS) Annual Meeting
Orlando, FL
March 22-25, 2018

CONTACT --- Cynthia Roman, Yale University (cynthia.roman@yale.edu) AND Cristina S. Martinez, University of Ottawa (martinezcsm@gmail.com)

CFP: CAA 2018 - A Second Talent: Art Historians Making Art

Session Chair: S. Hollis Clayson (shc@northwestern.edu)

The material turn has intensified the call for hands-on studio training for art history students at all levels. It has also increased the pressure on art museums to include highly technologized object analysis in exhibitions. A SECOND TALENT seeks contributions from art-making art historians who will scrutinize the connections between their immersion in a medium (making) and the complex particularities of interpretation (talking and writing). The session seeks papers that will actively query and pinpoint the value for art history of specialized artifact knowledge, focusing specifically upon the benefits of literal engagement in the production of art. Once an art historian (young or old) learns the technical details of an art process and gets her hands dirty by entering the absorptive sphere of art-making, what is the effect on her practice of art history? Does immersion in art process change art historical interpretation? Should it? It is hoped that contributors will question the self-sufficiency of materiality through the lens of their own experiences of the links between matter and meaning. A consideration of making as research would be welcome. Papers are expected to combine a self-aware narrative (“here’s my art”) with an interrogation of the hermeneutic gains or losses caused by the acquisition of a second talent.

Please send an abstract of no more than 250 words and a shortened CV to the session chair by August 14, 2017.

Editor of Celebrating Print is seeking proposals for projects that explore printmaking. Artists from Central or Eastern Europe and those whose project took place in the CEE region (e.g. Fulbright scholarship, printmaking residency) qualify. We are interested to learn why contemporary artists employ printmaking in their practice.

Senate House, London, April 10 - 12, 2018
Deadline: Oct 1, 2017

Printing Colour 1700–1830: Discoveries, Rediscoveries and Innovations in the Long Eighteenth Century (London, 10-12 Apr 2018)

Conference: 10–11 April 2018 (Senate House, London)
Object sessions: 12 April 2018 (London collections)
Details: bit.ly/PC1700-1830
Deadline: 1 October 2017, via bit.ly/PC1700-1830-Submit

Keynote: Dr Margaret Graselli (National Gallery of Art, DC)
Convenors: Dr Elizabeth Savage (Institute of English Studies) & Dr Ad Stijnman (Leiden University)

Eighteenth-century discoveries in archives, libraries and museums are revealing that bright inks were not extraordinary. Artistic and commercial possibilities were transformed between rapid technical advances around 1700 (when Johannes Teyler and Jacob Christoff Le Blon invented new colour printing techniques) and 1830 (when the Industrial Revolution mechanised printing and chromolithography was patented).

These innovations added commercial value and didactic meaning to material including advertising, books, brocade paper, cartography, decorative art, fashion, fine art, illustrations, medicine, trade cards, scientific imagery, texts, textiles and wallpaper.

The saturation of some markets with colour may have contributed to the conclusion that only black-and-white was suitable for fine books and artistic prints. As a result, this printed colour has been traditionally recorded only for well-known ‘rarities’. The rest remains largely invisible to scholarship. Thus, some producers are known as elite ‘artists’ in one field but prolific ‘mere illustrators’ in another, and antecedents of celebrated ‘experiments’ and ‘inventions’ are rarely acknowledged. When these artworks, books, domestic objects and ephemera are considered together, alongside the materials and techniques that enabled their production, the implications overturn assumptions from the historical humanities to conservation science. A new, interdisciplinary approach is now required.

Following from Printing Colour 1400-1700, this conference will be the first interdisciplinary assessment of Western colour printmaking in the long eighteenth century, 1700–1830. It is intended to lead to the publication of the first handbook colour printmaking in the late hand-press period, creating a new, interdisciplinary paradigm for the history of printed material.

Abstracts for papers or posters are encouraged from historians of all kinds of printed materials (including historians of art, books, botany, design, fashion, meteorology, music and science), conservators, curators, rare book librarians, practising printers and printmakers, and historians of collecting. Registration fee waived for speakers and poster presenters, transport and accommodation also offered to speakers. Please submit abstracts by 1 October 2017 at http://bit.ly/PC1700-1830-Submit.

This conference is sponsored by the Fritz Thyssen Foundation.

The Courtauld Institute of Art, November 18, 2017
Deadline: Jul 6, 2017

The contested concept of “reproduction” stands at a critical nexus of the conceptualisation of Early Modern artistic thought. The early modern period has been characterised by the development of novel and efficient reproduction technologies, as well as the emergence of global empires, growing interconnectedness through trade, warfare and conquest, and the rise of new markets and cultures of collecting. This ethos of innovation and cultural exchange was, however, contextualised against myriad contemporary ideologies still rooted in the values and legends of narratives of the past. Reproduction stood at the centre of this dichotomy. Set against the context of changing cultural tastes and the increasingly overlapping public and private spheres, ‘reproductions’ were involved within changing viewing practices, artistic pedagogy, acts of homage and collecting.

The idea of reproduction connotes a number of tensions: between authenticity and counterfeit; consumption and production; innovation and imitation; the establishment of archetype and the creation of replica; the conceptual value of the original and the worth of the reproduction as a novel work of art; the display of contextualised knowledge and the de-contextualisation of the prototype. At the same time, production is shaped historically through practices and discourses, and has figured as a key site for analysis in the work of, for example, Walter Benjamin, Richard Wolin, Richard Etlin, Ian Knizek and Yvonne Sheratt. Participants are invited to explore reproduction ‘beyond Benjamin’, investigating both the technical and philosophical implications of reproducing a work of art and seeking, where possible, a local anchoring for the physical and conceptual processes involved.

We welcome proposals for papers that investigate the theme of reproduction from the early modern period (c. 1500-1800), including painting, printmaking, sculpture, decorative arts, architecture, graphic arts and the intersections between them. Papers can explore artistic exchanges across geopolitical, cultural and disciplinary divides and contributions from other disciplines, such as the history of science and conservation, are welcome. Topics for discussion may include, but are not limited to:

- The conceptualisation and processes of reproduction and reproduction technologies before and at the advent of ‘the mechanical’;
- Reproduction in artistic traditions beyond ‘the West’;
- The slippage between innovation and imitation;
- Part-reproduction and the changing, manipulation and developments of certain motifs;
- Problematizing the aura of ‘authenticity’ and the ‘value’ of the original, copies and collecting;
- Fakes and the de-contextualisation of a work through its reproduction;
- Reproduction within non-object based study e.g. architecture;
- Theoretical alternatives and the vocabulary used to describe the process and results of reproduction in contemporary texts

Please send proposals of no more than 300 words along with a 150 word biography by 6th July 2017 to kyle.leyden@courtauld.ac.uk and natasha.morris@courtauld.ac.uk

Organised by Kyle Leyden, Natasha Morris and Angela Benza (The Courtauld Institute of Art)

Print Think 2017 is co-organized by Amze Emmons and Ashley West, bringing Tyler School of Art’s Art History Department in collaboration with our Printmaking program. This year’s conference, titled "Graphic Mimicry: Intermediality in Print and the Art of Imitation," will examine the intervisual dialogue between prints and other media from both a historical and contemporary perspective of the medium. At the heart of this year’s conference is the fundamental question of how printmaking from its earliest years defined itself in relationship to existing and historically more prominent technologies and media, such as drawing, painting, metalwork, sculpture, and tapestry design.

Over the course of two days, the conference will include a first day of discussions and panels on Saturday, October 21, featuring keynote speakers Susan Dackerman and Christiane Baumgartner; several scholarly panel discussions and talks featuring Anders Bergstrom, Shira Brisman, Phyllis McGibbon, Madeleine Viljoen, and Imin Yeh; and workshop demonstrations. The second day of the conference, Sunday, October 22, will focus on the work of graduate students, with two sessions organized by Devon Baker, Maeve Coudrelle, and Natalia Vieyra, advanced doctoral students in the Art History department.

CFP for Graduate Student Sessions:

We seek papers from graduate students and very recent graduates (within the past two years) that examine how printmaking processes have appropriated and translated aspects of other media. Whether aiming for the scale of frescoes or architectural monuments in multi-block oversized woodcuts; the modeling of an ancient sculpture or medallion through the language of hatching and cross-hatching; or searching for flat areas of tone through chiaroscuro, aquatint, mezzotint, or manners of color printing to simulate qualities of drawing, innovations in printmaking over the past five centuries often have been motivated by a desire to imitate or critique the distinctive visual effects or processes of other artistic techniques and materials. Staking a claim for itself as a medium to be taken seriously, printmaking also seems to have asserted its ability to do the high-minded theoretical work usually enjoyed by these other media, for which there were ample written treatises. But rather than rely on a textual tradition, printed images proved their ability to do their own theorizing, by referencing their processes of making and by commenting upon their ambitious position among the arts by visual means.

Questions to consider:
-How did this ability of print to adeptly mimic nearly every other art form and to assert itself within the discourses of other mediums become one of its greatest strengths and a critical tool for contemporary printmaking?
-How does print mimic, counterfeit, or copy?
-To what end do certain printmakers “quote” or allude to other media processes in their graphic work?
-What is the long-standing relationship between print and our mimetic faculties?
-Under what circumstances is it fruitful to examine print through an intermedia lens?

We welcome papers from graduate students in Art History, as well those pursuing an M.F.A. We hope to include papers addressing a range of time periods and regions, from the Renaissance through to the present day.

Please email abstracts (400 words maximum) and a C.V. to both Maeve Coudrelle (maeve.coudrelle@temple.edu) and Natalia Vieyra (nataliavieyra@temple.edu) by July 1, 2017. Selections will be shared in late July.