Art in Print is currently seeking reviewers for the following books. Please email Susan Tallman (st@artiprint) to express interest.

Margaret Holben Ellis, ed., Historical Perspectives in the Conservation of Works of Art on Paper. (Getty Publications, Los Angeles, 2015)

Fritz Emslander, ed. Gert & Uwe Tobias (Verlag Kettler, Dortmund, 2015)

Lisa Pon, A Printed Icon in Early Modern Italy: Forli’s Madonna of the Fire (Cambridge University Press, 2015)

Stefan Gronert, ed., Gerhard Richter: Editions 1965-2013 (Hatje Cantz, 2014)

Paul Coldwell et al., Paul Coldwell: Material Things (University of Bradford UK, 2015)

Jonathan Black, C.R.W. Nevinson: The Complete Prints (Lund Humphries, London, 2014)

April Vollmer, Japanese Woodblock Print Workshop: A Modern Guide to the Ancient Art of Mokuhanga (Watson-Guptill Publications, Berkeley, 2015)

Bob Hicks, Beth van Hoesen: Fauna & Flora (Pomegranate Communications, Portland, 2014)

Joby Patterson, Norma Bassett Hall: Catalogue Raisonné of the Block Prints and Serigraphs (Pomegranate Communications, Portland, 2014)

Please email Susan Tallman (st@artinprint.org) to express interest in reviewing any of these exhibitions.

“Gustave Baumann” at Indianapolis Museum of Art
25 Oct 2015 – 14 Feb 2016; in conjunction with The Autobiography of Gustave Baumann (Pomegranate, fall 2015)

“The Nature of William S. Rice: Arts and Crafts Painter and Printmaker,” Crocker Art Museum, Sacramento CA. 15 Nov 2015 – 3 April 2016.

“The Worlds of M.C. Escher: Nature, Science and Imagination,” North Carolina Museum of Art, 17 Oct 2015 – 17 Jan 2016.

“Expanding Frontiers: the Jack and Suzy Wadsworth Collection of Postwar Japanese Prints,” Jordan Schnitzer Museum of Art, 26 Sep 2015 – 3 Jan 2016.

International Conference on Urban History, 'Reinterpreting Cities' - European Association for Urban History, Helsinki, Finland, August 24 - 27, 2016

Satire and the City: Representations of Cities and Urban Life in the Comical Press (18th – 20th centuries)

The recent attack on the satirical magazine Charlie Hebdo tragically brought the satirical press and its agency to the forefront of the political debate. Comical newspapers have long played an important role in commenting and testing cultural and socio-political practices. While caricature and satirical print culture date back to the Enlightenment, it was in the nineteenth century when it became an urban phenomenon and an object of mass consumption due to the advances in reproduction techniques. Across European and Western cities the comical press became a dominant form of popular culture and was, ultimately, an antecedent to twentieth-century forms of entertainment and socio-political critique like comics and cartoons.

While scholarship has focused on print culture’s relation to social satire and class, or the stylistics of caricature, the relation between comical journals and the city have received less attention. As examined in the volume “Rire en Ville, Rire de la ville” (Histoire Urbaine, n° 28, 2011) humor sheds light on how urban identities and modernization were negotiated in everyday life. Thus, we propose a more nuanced look at the subject of satire and the city through its most far-reaching, popular, and metropolitan vehicle: the comical press. Not only were comical periodicals an essentially urban phenomenon on account of their methods of distribution and places of production, but also in what relates to its central subject matter, the vicissitudes of urban life.

This session will explore how the caricatures reproduced in the comical press articulated ideas of urbanity, place and lived experience, and changing socio-spatial relations in modern cities throughout the eighteen to the twentieth centuries. The purpose of this session is to examine the satirical press and its ability to comment, shape and test cultural boundaries, social conventions and power relations. We welcome interdisciplinary approaches that explore images of street scenes and city dwellers; the presence of women in public space; issues of class, urban leisure and consumption; the critique of urban projects; everyday practices like strolling and window-shopping or other significant themes of urban reality. Papers may also look at representations of place and the articulation of cultural memory through humor, such as the reworking of urban archetypes and customs or the treatment of places of memory that were bound to urban identity. We welcome both specific and comparative studies that establish connections between cities and the visual tropes used to express concerns regarding urban life.

Session organizers: Paulo Jorge Fernandes, Universidade Nova de Lisboa, Portugal; Vanesa Rodríguez-Galindo, UNED, Madrid

Deadline paper proposals: October 31, 2015.
Notification of paper acceptance: December 15, 2015

Abstracts of paper proposals should not exceed 300 words. To submit a paper proposal, registration in the conference management system is required: https://www.conftool.pro/eauh2016/. The authors of the accepted paper proposals will be invited to submit the full text (max. 5000 words) to the conference management system by August 15, 2016. Paper proposals and full texts can only by submitted online, via the EAUH2016 website: https://eauh2016.net/programme/call-for-papers/.

The program committee for ESA’s 36th annual meeting seeks presentations related to the theme of the 2016 conference, “Politics, Patriotism, and Protest,” to be held in Old Greenwich, Connecticut, on March 18-20, 2016. Concurrent with the 2016 presidential election, the symposium will emphasize the role ephemera plays in electing candidates for office, promoting patriotism in times of peace and war, and reflecting protest and reform movements. The program committee will pay special attention to proposals that address contemporary political issues from a historical perspective, such as economic equality, race, gender, and voting rights. Presentations addressing the use of ephemera in teaching and in student research will be given special consideration.

Talks are limited to 30 - 40 minutes, followed by a brief Q&A. Please send:

- proposed titles and abstracts, including the types of ephemera to be used;
- 3-4 ephemera images to use for publicizing the presentation;
- one-paragraph bio including affiliations;
- jpg of a recent photograph to use for publicity; and,
- contact information: mailing address, phone number and e-mail address.

Proposals should not exceed 250 words, and must be submitted by *August 1, 2015* to Barbara Loe, Ephemera 36 Conference Chair either by email, bjloe@earthlink.net, or by post, Barbara Loe, Ephemera Society of America, Inc., P.O. Box 95, Cazenovia, NY 13035-0095.

Proposal notification will be made by October. Please note that funding is not available from ESA to
support travel or presentation costs.

This panel will focus on the ambivalent status of the graphic material, that is on the one hand used by the artist in order to produce another work of art, but on the other hand that is esteemed by the collectors as a work of art on its own and that is praised for its rarity and for its possibility to discover the artist's working process.

Proposals for a 20-minute paper can range from the creation of this material by the artist to its value on the art market or in the collections.

Submissions are accepted in German, French, English and Italian.

No geographical nor temporal limits are imposed. Young scholars are especially encouraged to send proposals.

If you're interested, please send an abstract of max 3'000 signs to ars.graphica@gmx.ch and to vkksgeschaeftsstelle@gmail.com.

Revista Hispánica Moderna is accepting articles for a special issue on the history of the book. We welcome essays (both within and beyond the boundaries of Latin American and Iberian studies) that reflect on the book from its prehistory to its present—and beyond.

The history of the book may be one of the timeliest subjects in the humanities, and for obvious reasons. Today, the written word is produced, stored, distributed, and read in ways that challenge the traditional notion of the book. Responses to these circumstances range from the bleakest to the giddiest of predictions. Whether the book is dying or in the throes of rebirth, these changes are not just a source for theoretical speculation, but entail a radical transformation of the humanities themselves.

In this context, a critical assessment of the book and its history affords a unique opportunity not only to trace the material and institutional changes affecting the circulation of the written word, but also to reassess the value of certain concepts and paradigms that have dominated the humanities during the last century.

The book differs from such categories as text or work in that it is defined by presence—and presence is always historically determined. The first and most direct context of the text it contains, a book is not made of signifiers (abstract values within a system), but of ink or pixels. Each one of these traces on the page or on the screen is fossilized history—concrete marks left by the social and technological conditions that made it possible. Thus, the irreducible materiality of the book poses questions that the notion of text, on its own, cannot begin to ask. At each point in time, the book results from the intersection of the technological possibilities of the age, its epistemological paradigms, and its general and historical circumstances. Furthermore, the book embodies this intersection.

In the first part of his Panizzi Lectures of 1985, Donald McKenzie explains why and how to reassess the concept of text to incorporate not only its verbal dimension, but also the whole interaction of its many interwoven elements, including the binding, material support, writing instruments, etc. It is in this general direction that we believe scholarship should move.

Revista Hispánica Moderna welcomes essays (both within and beyond the boundaries of Latin American and Iberian studies) that reflect on the book from its prehistory to its present—and beyond.

Suggested topics include:

The book and the Humanities: Parallel Histories?
Written in stone: Engravings and Carvings
Unbound: The prehistory of the book
Quills, Types, Bits: A Teleology?
History or Eschatology of The Book?
Monopolization and Atomization: Global Conglomerates and Local Independent Presses
The Right to Copy: Reproduction and Authorship
The Book as a Commodity: Theories of Value
By the Book: The Book and Authority (Religion & Law)
Bookkeepers and Bookmakers: The book and the many meanings of accounting
Fetishes: The Aura of The Book
The Book as a Machine: Technology and Materials
The Book to Come: Does the Digital Book Really Exist?
Dictations and Declamations: The Book and Oral/Aural Literature
What We See When We Read: A History of Reading
Words and Pictures: Non-Verbal Aspects of the Book (Illuminations, Illustrations, Design)
Bibliophilia: An Etiology
Distant and Close Reading: Beyond Statistics and Hermeneutics.
Spines: What Is Hidden Inside Bindings? Recycled and Consolidated Books.
Proportions of the Book
Submissions: rhm@columbia.edu

Deadline: 9/01/2016

Length: 8,000 words

Languages: English, Spanish

Book reviews should be proposed at least three months prior to publication; texts are due two months prior to publication. Book reviews normally run 600-1500 words. We are currently looking for writers to review the following books.

Proposals and query letters should be addressed to: Susan Tallman st@artinprint.org.
Beth Van Hoesen: Fauna & Flora. Essays by Bob Hicks.

Norma Bassett Hall: Catalogue Raisonné of The Block Prints and Serigraphs. Joby Patterson

Gerhard Richter – Editions 1965-2013. Edited by Stefan Gronert, Thomas Olbricht, Hubertus Butin, Texts by Hubertus Butin, Stefan Gronert, graphic design by Margarete Hausstätter

La Passion Dürer, ed. Laurence Schmidlin.

Lyonel Feininger: Woodcuts. Edited with text by Björn Egging.

Reviews should be proposed at least three months prior to publication; texts are due two months prior to publication. Exhibition reviews run 600-2000 words, depending on the size and importance of the show. We are currently looking for writers to review the following exhibitions. (Asterisks indicate an associated catalogue that should be reviewed as part of the same essay).

Proposals and query letters should be addressed to: Susan Tallman st@artinprint.org.

London: “The Diamond Sutra and Early Printing” at the British Library. Closes 8 September 2015.

San Juan, Puerto Rico: “The IV Poly/Graphic San Juan Triennial: Latin America and the Caribbean.” 24 October 2015 – 27 February 2016.

New York: “How Posters Work” at the Cooper Hewitt Museum. Closes 1 November 2015.

* New York: “Rembrandt’s Changing Impressions” at Columbia University (Wallach Gallery), 9 September – 12 December 2015. This essay should also review the associated catalogue.

* Los Angeles: “A Kingdom of Images: French Prints in the Age of Louis XIV” at the Getty Center. 16 June – 6 September 2015. This essay should also review the associated catalogue.

Cambridge MA or Pasadena CA: “Corita Kent and the Language of Pop” at the Harvard Art Museums, 3 September 2015 – 3 January 2016. OR “Someday is Now” at the Pasadena Museum of California Art, 14 June – 1 November 2015.

“Paper Castles” Vol. 6 No. 3
Focusing on the relationship between architecture and print, this issue will consider forms such as paper models, wallpaper and other innovative ways of moving between three dimensions and two. We will also consider book, exhibition and new edition reviews related to this theme.

Proposal deadline: 1 January 2016
Text deadline: 1 July 2016.

Proposals and query letters should be addressed to: Susan Tallman st@artinprint.org.

Art in Print is the premier American journal dedicated to the history and culture of the printed image. Published bimonthly, it considers the social, aesthetic, political and poetic functions of art, and includes writing by an international array of eminent scholars, artists and critics as well as younger writers. Art in Print is a not-for-profit organization, but all writers receive a small honorarium. Please visit our website at www.artinprint.org for more information.

“The Copy” Vol. 5 No. 4
This issue is about the creative function and conceptual complexity of the copy—handmade and mechanical—from the 15th to the 21st century. Articles should run no more than 3000 words (including notes). We will also consider book, exhibition and new edition reviews related to this theme.

Proposal deadline: 1 July 2015
Text deadline: 1 September 2015.

Proposals and query letters should be addressed to: Susan Tallman st@artinprint.org.

Art in Print is the premier American journal dedicated to the history and culture of the printed image. Published bimonthly, it considers the social, aesthetic, political and poetic functions of art, and includes writing by an international array of eminent scholars, artists and critics as well as younger writers. Art in Print is a not-for-profit organization, but all writers receive a small honorarium. Please visit our website at www.artinprint.org for more information.