Accepting proposals now through August 30, 2024, from artists anywhere in the world regardless of affiliation.

The California Society of Printmakers is soliciting proposals for the 2025 annual issue of The California Printmaker for this year’s theme: Printmaking–Plus.

We are interested in how your printmaking process is combined with other techniques. How do your ideas develop into a cohesive body with mixed media? How are processes, technology or media joined to help express what you are trying to say while keeping with the essence of printmaking?

We would like proposals by you or your recommendation of other print artists (including their website) who could contribute to this topic.

Final articles should be 700-1200 words with accompanying pictures.
Your work will be judged on its quality and how well it relates to this year’s theme.

-outline or short narrative (about 200 words) in a word doc .
-5 or more jpegs (at least 3 mgb image size) relating to your proposal content, submitted as a separate attachment, please no images in pdf.
-website address.
-artist bio with contact information.
-please word doc, and attach image files – no pdfs.

If you are considered, your finished article would be due November 1, 2023

Submit to:
Bob Rocco, Editorial Board, California Society of Printmakers
bobroccoart@gmail.com

College Art Association Annual Conference, February 12–15, 2025
Association of Historians of Nineteenth-Century Art affiliate panel session
Call for Papers


Taking and Making: Artistic Reckonings with Cultural Property Theft in the Long Nineteenth Century

Chair: Nancy Karrels, PhD, JD, karrels.nancy@gmail.com

The nineteenth century witnessed a profusion of incidents of cultural property theft accompanied by coercion and violence and often driven by imperial and colonial agendas. From the notorious spoliation of Beijing’s Old Summer Palace during the Opium Wars to the seizure of sacred Native American belongings under the guise of scientific inquiry, these acts of looting left communities grappling with profound cultural losses that still reverberate today.

This panel explores the complex dynamics of artistic exchange and expression engendered by these traumatic events. Drawing inspiration from Bénédicte Savoy’s transnational approach to the cultural exchanges that resulted from the French spoliation of Germanic princely collections in post-Revolutionary Europe, we aim to investigate the ways in which forcible transfers of cultural patrimony globally catalyzed shifts in artistic value and meaning during the long nineteenth century, and how these contentious processes sparked cross-cultural discourse and innovative avenues of creative expression among artists directly impacted by or complicit in them. From the interplay between looting and artistic production to the evolution of techniques and styles in the aftermath of plunder, we encourage contributions from diverse cultural perspectives and methodological approaches.

Submission are due August 29 through the CAA conference portal.

Proposals are open to all, but once accepted, presenters will need to update their memberships in both CAA and AHNCA by the time of the conference.

APS-sponsored Session Proposal, RSA 2025
Organized by by Dr. Ulrike Keuper (Ludwig-Maximilians-University, Munich) and Jun.-Prof. Dr. Hui Luan Tran (Johannes Gutenberg-Universität, Mainz)

Every artwork is subject to decay and is therefore involved in a metabolic process. Due to
the printing process printmaking also bears the natural decay of the plate or the
woodblock and each printed sheet. This can be seen as a characteristic of this technique,
just as the division of labour: Pre-drawing, transferring, cutting/engraving/etching and
printing are steps in a working process executed by one or more actors. In material terms,
this means that metal was mined, paper was produced using water, black pigments and
solvents should not be forgotten and in the case of etching, acid came into play. From
the perspective of environmental history, resources were processed whose availability was
unstable and potentially exhaustible and waste materials were generated which were
harmful to the environment. One step further in the production process, the question of
reuse or recycling arises. Was there an afterlife of plates and woodblocks? Were they
reused? How was paper recycled and how did printed sheets find new purposes in
different contexts? And was there an ecological consciousness or urge for sustainability?
The ecological footprint of early modern printmaking is out of proportion to today's
climate crisis. Nevertheless, the situation demands our responsibility as scholars of a
historical discipline. Indeed, printmaking as a medium of reproduction can be seen as a
proto-industrial technique and a medium of capitalism. Besides an ecocritical view of
printmaking, the session hopes to provide a deeper insight to the technique by
questioning its materials, their circumstances of extraction and utilisation.

Please send your full name, current affiliation, paper title (15-word maximum), abstract (200-word maximum), PhD completion date (past or expected), keywords, and a 1-page non-narrative curriculum vitae to the organizers: Ulrike Keuper (Ulrike.keuper@kunstgeschichte.uni-muenchen.de) and Hui Luan Tran (hl.tran@uni-mainz.de).

APS-sponsored Session Proposal, RSA 2025

Organizers: Katherine Calvin (Assistant Professor of Art History, Kenyon College) and Elizabeth Rice Mattison (Andrew W. Mellon Curator of Academic Programming and Curator of European Art, Hood Museum of Art, Dartmouth College)

The creation of money and the making of prints were closely aligned, both materially and conceptually, in the early modern period. Not only did the production of coins and prints share reproductive technologies, but the ready circulation of both objects connected vast geographies through trade and exchange. Coins, along with medals, emblems, and seals, were replicated in illustrated books, inflecting their creation, use, and worth for scholarly and elite audiences. While early modern coins were often modeled on classical precedents, prints became a key medium for developing notions of ancient architecture and ornament. Further, reproducibility provoked anxiety about the authenticity, originality, and value of both currency and prints. Although scholars have recently reexamined the social and cultural dimensions of money, the shared dialogue between printmaking and coinage has been overlooked in art historical literature. This panel invites submissions for 20-minute papers that examine the intersection of printmaking and money across geographies, raising new methodological and topical approaches to numismatics and print studies. In focusing new attention on the relationship between currency and printmaking, this panel aims to illuminate early modern considerations of value, worth, and exchange.

Possible topics include, but are not limited to:

The production and reception of numismatic books
Notions of value as they relate to prints and money
Questions about authenticity and security of prints and money
The shared imagery of prints and coins
Collecting practices of prints and currency
Prints and coins as stores of value
Technologies of making prints and money

https://www.rsa.org/forms/FormResponseView.asp?id=FE620981-26CC-40F6-9494-58C35F578EAB

Made from discarded blue rags, early modern blue paper was a humble material. Despite that, its manufacture required expert knowledge and its impact on European draftsmanship was transformative.

This call seeks proposals for 20-minute papers that address the history of European blue paper from the fourteenth century until 1800. Open to art historians, curators, conservators, conservation scientists, paper historians, papermakers, and dyers, successful proposals will demonstrate original archival research and/or object-based approach to their discussion of works on blue paper. While all topics will be considered, organizers encourage papers related to the following subjects:

● blue paper production outside the Italian peninsula and the Netherlands;

● color shift in blue paper and its implications;

● technical and/or scientific examination of blue paper;

● artistic uses of blue paper;

● non-artistic uses of blue paper;

● blue paper as means of transcultural exchange;

● intersection between blue paper production and textile trade and technological developments.

Co-organized by the J. Paul Getty Museum and the University of Amsterdam, this interdisciplinary online symposium will take place November 12–13, 2024, over two morning sessions Pacific Standard Time.

Proposals should include: Author’s name, title, and an abstract not to exceed 500 words. Submissions should be sent to drawings@getty.edu by July 31, 2024. Please put “Drawn to Blue” in the subject. Accepted speakers will be notified by mid-August.

Association of Print Scholars
CALL FOR APS-SPONSORED SESSION PROPOSALS
RENAISSANCE SOCIETY OF AMERICA
20-22 March 2025
Boston
The Association of Print Scholars invites submissions for its sponsored sessions at the Renaissance Society of America conference, to be held in Boston from 20-22 March 2025.
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-organized sessions are welcome; junior and senior scholars are encouraged to collaborate. Organizers may act as chair(s), or they may elect another scholar to serve this position, as per RSA guidelines.
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 2024-2025 and register for the conference. Please note that proposing a session or a paper indicates your commitment to attend.
Organizers, chairs, and/or co-organizers 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 organizer. In the subject line, please indicate “APS-Sponsored session proposal RSA 2025” and send to Braden Scott
at rsacoordinator@printscholars.org

Submissions due: 15 May 2024
Acceptance decisions will be communicated to submitters by 1 June 2024.

The Association of Print Scholars invites thematic proposals for its sponsored panel at the 113th College Art Association (CAA) Annual Conference to be held in New York, February 12–15, 2025.

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 10, 2024.

To mark the launch of the digital resource “Sylvester Koehler: Exploring Print History,” the Department of Prints and Drawings at the Museum of Fine Arts, Boston, will host a virtual symposium on Friday, May 3, 2024 from 10am-noon (EST).
In 1892, Sylvester Rosa Koehler (b. 1837– d. 1900), the MFA’s first curator of prints and drawings, organized the “Exhibition Illustrating the Technical Methods of the Reproductive Arts from the 15th Century to the Present Time, with Special Reference to the Photo-Mechanical Processes.” This landmark MFA exhibition included more than 700 works that traced the history and technology of printing in Europe and the United States. “Sylvester Koehler: Exploring Print History” resurrects the exhibition and its catalogue, making them accessible in today’s digital age. Resources related to the show—and Koehler’s work more broadly—are available together online for the first time, anchored by an interactive version of the catalogue with links to database records of objects Koehler used (or may have used) in the original exhibition
The symposium aims to bring together a wide range of students, academics, historians, artists, and museum professionals from around the world to exchange ideas and research related to newly accessible material featured in the 1892 exhibition.
You are invited to submit a proposal for a brief virtual presentation (5-10 minutes) on past, current, or future research, or artistic practice linked to works, firms, artists, or printmaking processes featured in the 1892 exhibition. Please submit a 100-150 word proposal to koehlerproject@mfa.org by Friday, March 1, 2024. Selected presenters will be notified by Friday, March 8, 2024.
Invited presenters will receive an honorarium of $300.
The MFA’s collections of prints, drawings, and photographs, are available to view by appointment in the Morse Study Room.
This digital project is supported by Getty through the Paper Project initiative.

To mark the launch of the digital resource “Sylvester Koehler: Exploring Print History,” the Department of Prints and Drawings at the Museum of Fine Arts, Boston, will host a virtual symposium on Friday, May 3, 2024 from 10am-noon (EST).
In 1892, Sylvester Rosa Koehler (b. 1837– d. 1900), the MFA’s first curator of prints and drawings, organized the “Exhibition Illustrating the Technical Methods of the Reproductive Arts from the 15th Century to the Present Time, with Special Reference to the Photo-Mechanical Processes.” This landmark MFA exhibition included more than 700 works that traced the history and technology of printing in Europe and the United States. “Sylvester Koehler: Exploring Print History” (https://www.mfa.org/beyond-the-gallery/sylvester-koehler-exploring-print-history) resurrects the exhibition and its catalogue, making them accessible in today’s digital age. Resources related to the show—and Koehler’s work more broadly—are available together online for the first time, anchored by an interactive version of the catalogue with links to database records of objects Koehler used (or may have used) in the original exhibition
The symposium aims to bring together a wide range of students, academics, historians, artists, and museum professionals from around the world to exchange ideas and research related to newly accessible material featured in the 1892 exhibition.
You are invited to submit a proposal for a brief virtual presentation (5-10 minutes) on past, current, or future research, or artistic practice linked to works, firms, artists, or printmaking processes featured in the 1892 exhibition. Please submit a 100-150 word proposal to koehlerproject@mfa.org by Friday, March 1, 2024. Selected presenters will be notified by Friday, March 8, 2024.
Invited presenters will receive an honorarium of $300.
The MFA’s collections of prints, drawings, and photographs, are available to view by appointment in the Morse Study Room.

Call for contributions - A volume in celebration of Christina of Sweden’s 400th birthday.

Volume Editors:
Theresa Kutasz Christensen, Camilla Kandare, Ylva Haidenthaller

Project Summary:
In celebration of Christina of Sweden’s 400th birthday celebrations in 2026, we plan to organize a volume that highlights and expands scholarship on Queen Christina and her lasting influence. This book will present interdisciplinary work on the queen with a transnational focus on her social, religious, political, artistic, intellectual, and academic engagement and reception in the 17th century. The essays will consider the vast material already published on Christina, as well as new avenues of research on the queen, reflecting on the almost mythical status she holds with the aim of establishing the current state of research, with particular weight given to the exploration and exploitation of her movement and influence as both a woman and a queen. Persistent thematic approaches and scholarly trends are re-addressed through investigations into Christina’s self representation, networks, and reception from within the context of her own place and time. This can be accomplished through the assessment or reassessment of primary source material and/or through the location of Christina within established bodies of scholarship addressing themes including early modern networks, queenship, fashion, or writing.

Project Timeline:
We plan to notify contributors of their selection by February of 2024. Once the project is contracted with a press, we anticipate final essays of no more than 5,000 words will be due in draft by early Fall of 2024 with the goal to publish in time for the anniversary celebrations in 2026.

Working Title of the Volume:
Christina in Context: A Celebration of Queen Christina of Sweden at 400.

Volume Abstract:
Scholarship on queen Christina has often projected later values and methodologies onto her, failing to account for the nuances of her seventeenth-century lived experience, her agency, and the context of her contemporary reception. Moving away from narratives that discuss the queen as an anomaly or an exception to period norms, the essays in this volume will instead locate her within the broader networks and contexts in which she operated. We seek to lift the veil of exceptionality which has long concealed her navigation of the norms, influences, and expectations of her time, thereby allowing for a more nuanced view of her person and influence.

We encourage authors of these essays to take as their foundation the seventeenth-century context in which Christina lived. We welcome contributions on topics that address Christina as both a queen and a woman who operated in diverse locations throughout her life, situating her within early modern female networks, women’s agency, power, and queenship. This can include, but is not limited to, investigations of Christina's participation in the art, literature, philosophy, education, religion and spirituality, scientific history, and the performing arts of her period.

Keywords: Queen; Christina of Sweden; Transnational; Women and Gender; Interdisciplinary; Primary Source; Seventeenth Century.

Applications:
To apply, please submit the following materials in a single PDF to queenchristina1626@gmail.com no later than February 1, 2024.
- Name, affiliation
- 1 page CV
- Provisional essay title
- A 700 - 1000 word abstract
- Number of illustrations anticipated