Hands-On Lithography Workshop
November 4-6, 2026
Instructors: Christopher Wallace and Christina Taylor

This workshop introduces non-artists, such as conservators, print scholars, and a range of art professionals to various lithographic processes and techniques commonly utilized by artists and studios, historically and up to this day. Lithography is a complex, chemical printmaking process that requires firsthand experience to fully grasp the technique and potential artistic applications. Hands-on techniques covered in the workshop include stone lithography (additive and reductive), plate lithography, pronto plate (color lithography), transfer lithography, and photolithography. The curriculum consists primarily of hands-on printing activities at Second State Press but will also include lectures, close-looking at prints, and group discussions in the Philadelphia Museum of Art’s Study Room and Paper Conservation Lab.

The instructors of the workshop are a conservator (Christina Taylor) and artist/lithographer (Chris Wallace), and this combination offers a special opportunity to merge the perspectives of museum and art professionals.

General Schedule:
Day 1 (Second State Press, 9am-5pm): introduction/lectures and hands-on printing in print studio
Day 2 (Second State Press, 9am-5pm): hands-on printing in print studio
Day 3 (PMA, Study Room and Paper Lab, 9am-5pm): print exam/discussion
Each day we will take breaks and have an hour allotted for lunch.

Registration:
Registration fee for participants: $400
Includes all materials and coffee breaks/snacks. Lunch not included. Participants are responsible for their own travel and lodging. The workshop is limited to 12 participants.

Please reach out to Christina Taylor (printstudioschool@gmail.com) to register or with any questions.

Applications are now open for “Prints Across the Pacific, 1565–1815,” a Connecting Art Histories project exploring print culture as a key medium of cultural exchange across the early modern Pacific.

UCLA CMRS Center for Early Global Studies invites early to mid-career scholars based in Southeast Asia and Latin America working in art history, book history, literature, curation, librarianship, and related fields to apply. Selected participants (12–15 total) will join three fully funded international seminars in Manila, Mexico City/Puebla, and Madrid/Rome, featuring collaborative research, site visits, and discussions on global print histories.

Submit materials to sporras@tulane.edu and devinfitzgerald@library.ucla.edu by June 22, 2026.

Learn more about the program and application process: https://cmrs.ucla.edu/.../call-for-participants.../

In 2027 Tamarind offers an expanded program of immersive, one-week workshops in lithography from basic to advanced training, geared towards beginning students, practicing artists, educators, curators, and experienced printmakers who want to hone their skills. Small classes limited to 8-10 participants, led by Tamarind Master Printer Brandon Gunn, will provide individualized attention and daily printing demonstrations.

Application Deadline August 15, 2026

2027 Workshops

*One-week Curators Workshop – January 11-15
Designed to familiarize professional print curators with the medium of stone lithography as practiced at Tamarind. Program provides print demonstrations; hands-on time drawing, processing, and printing one-run lithographs; and additional time with the gallery staff to explore print documentation and the Tamarind Archive of prints and historic materials.

*One-week Tusche Wash on Stone Workshop – February 1-5
A workshop dedicated to the water-based drawing material of tusche, including techniques for mixing, handling, etching, and printing to achieve desired effects.
For mid-level to advanced lithographers.

*One-week Photoplate Workshop – March 1-5
A workshop dedicated to the use of photoplate lithography, covering techniques for handling, drawing, processing, exposing, and printing from a pre-coated aluminum photographic plate.
Suitable for all skill levels.

*One-week Aluminum Plate Lithography Workshop – May 3-7
An introduction to plate lithography, including chemistry, materials, processing and printing from a ball grained aluminum matrix.
Suitable for all skill levels.

*Workshop fee for one-week workshops: $500 plus materials

Division of Prints & Drawings, National Gallery of Art

Thaw Colloquium on Connoisseurship

November 18-20, 2025


Call for Applications

The Thaw Colloquium on Connoisseurship is a biennial program designed to encourage the close examination and evaluation of the visual and material aspects of works of art on paper. Intended for early-to-mid career curators, curatorial research fellows, and paper conservators, the Colloquium consists of a three-day seminar at the National Gallery of Art led by its curatorial and conservation staff. It focuses on the Gallery’s collection of more than 120,000 print and drawings. The Colloquium is generously funded by the Eugene V. and Clare E. Thaw Charitable Trust.

This year, the Thaw Colloquium will address topics that relate to both prints and drawings from the 15th century to the present day. Topics to be considered will include: identification of materials, techniques, and process; intention and function; interpretation of condition; priorities for research and treatment; and strategies for acquisition. Further discussion will address methods of evaluating works in light of planning collection reinstallations and implementing new strategic collecting plans; the role of connoisseurship in the stewardship of collections; and recognizing how historical assumptions and biases affect curatorial responsibilities and decisions. This Colloquium is intended to be an interactive workshop that welcomes a variety of viewpoints and participants’ active participation.

Funding from the Thaw Trust will allow the National Gallery of Art to cover the cost of participants’ travel to Washington, accommodations, and select meals.

Requirements: Participants will have a demonstrated commitment to prints and drawings, including at least two years of curatorial and/or conservation experience with works on paper and advanced academic study concerning the graphic arts. Consideration will be given to applicants who have not had an opportunity to participate in similar training programs. Applications from curatorial and conservation candidates affiliated with institutions that do not offer wide-ranging resources for the technical study of works on paper are especially encouraged.

Applicants should send a curriculum vitae and letter indicating areas of interest or projects in progress; experience with works on paper collections; a list of training programs and/or workshops attended; and expectation of outcomes from this program by July 1, 2025, to:

Thaw Colloquium Coordinator

Division of Prints and Drawings

National Gallery of Art

connoisseurship@nga.gov



Applicants selected to participate will be notified of their acceptance to the 2025 Thaw Colloquium on Connoisseurship in early August 2025.

All qualified applicants will receive consideration for the training position without regard to race, color, sex, age, national origin, religion, disability, veteran status, marital status, citizenship, or any other protected status. The National Gallery offers equal opportunity and treatment to all who apply.

Identification of Photomechanical Prints

Lecturer: Hildegard Homburger
Language English
Participants: 8
Next dates: Berlin, 9.-10. October 2025
Fee 350,- € IADA-members
390,- €

Registration: h.homburge(at)t-online.de

The course is aimed at conservators, curators, registrars and archivists.


Content:
Within the total number of photomechanical prints, artistic works represent only a small part.

With the introduction of photography in the19th century, printers no longer had to transfer the image manually onto the printing surface, but were offered the possibility to transfer the image by sensitizing the printing surface and exposing it to light, through a negative or positive depending on the printing technique.
With computer technology, negative or positive film is often no longer necessary. The image is transformed into dots by the computer and the image is transferred to the printing surface by light exposure in the machine.

Since their invention photomechanical printing techniques have continued to develop further. There are many similar variations of the same technique, each named differently by its inventor. This can be very confusing in the process of identification.
In this seminar the most important photomechanical techniques of relief, intaglio, planographic, screen and digital prints will be presented.

The different techniques (artistic and reproduction) will be examined by studying original prints under magnification. Two participants will share a stereomicroscope. The distinctive characteristics of each technique will be worked out through close looking at the original prints, as exercises in identification.

The two-days course provides an opportunity to look at a great number and variety of original prints under magnification and to develop skills in the identification of their techniques. There will also be the opportunity to compare photomechanical with manual prints.

Identification of Prints

Lecturer: Hildegard Homburger
Language English
Participants: 8
Next dates: Berlin, 6.-7. October 2025
Fee 350,- € IADA-members
390,- €

Registration: h.homburger(at)t-online.de

The course is aimed at conservators, curators, registrars and archivists and others interested


Content
The artistic and industrial printing techniques undergo a constant development. Modern technology allows a great variety of relief, intaglio, lithography, screen and digital print. Therefore, the artistic prints can no longer be limited only to the classical techniques. Artists are using the new technical possibilities with interest. Therefore, in the identification of the artistic works we are also confronted with mechanical, mostly photomechanical techniques.

This two-day course focuses on manual artistic printing techniques. The individual printing techniques and their numerous sub-groups will be presented in detail with illustrated lectures.

As an extension, those photomechanical reproduction processes will also be included, with which confusion can occur.

In the practical part the two days offer the opportunity to look at a great number and variety of original prints under magnification. There are several stereo microscopes available. During these exercises the special characteristics of each technique will be worked out.

The course provides an opportunity to look at a great number and variety of original prints under magnification and to exercise the identification of their techniques.

Call for Applicants
The UCLA Grunwald Center for the Graphic Arts, Hammer Museum invites applicants for a five-day seminar in Los Angeles for early- to mid-career curators responsible for print collections. The project is designed to offer learning opportunities not commonly part of advanced academic study, which are critical to meeting the needs of 21st-century museums and the communities they serve.
This seminar is made possible with support from Getty through The Paper Project initiative.

Program
Exploring Los Angeles’s exceptional resources and diverse expertise, this seminar will combine hands-on and technical study with cross-disciplinary discussions based in museum and library print collections, conservation labs, and printmaking studios. By engaging in conversation with curators, conservators, collection managers, printers, artists, grant funders, and community-based arts workers, participants will be encouraged to think expansively about the potential and significance of their curatorial work in the field of prints. This program has identified foundational areas of learning that Los Angeles is uniquely positioned to address: technical study of prints from their making to their preservation and care; assessing and establishing collection development opportunities and priorities in different types of institutions; collection management, access, and display; cross-institutional partnerships that amplify impact; philanthropy; and community engagement. Through in-person viewing and handling of artworks and artist's materials, this seminar will offer participants new modes of inquiry and develop tools for assessing, interpreting, and caring for prints that will broaden the intellectual framing of their curatorial work. The cohort will gain familiarity with Los Angeles collections and specialists, which we hope will inspire future projects and collaborations.

The seminar centers on collections, organizations, and expertise in Los Angeles and comprises three 1-hour virtual meetings and a 5-day in-person seminar. An optional 1-2 days of accommodation support before or after the in-person sessions may be available.

We will accept a group of 10 to 12 curators to participate in the seminar, allowing for intimate dialogue and a diversity of perspectives.

Please see this page for the preliminary seminar schedule: https://hammer.ucla.edu/making-collecting-and-conserving-prints-curatorial-seminar

Eligibility
We encourage applications from early- to mid-career curators of prints working at small to mid-size museums, libraries, and archives, where specialized works on paper and/or conservation mentorship is not available. We also seek applications from curators who steward non-medium specific collections that include prints.
Participants new to the Paper Project are particularly encouraged to apply.

Application Instructions
To apply, please submit a current CV and personal statement. The personal statement should describe your current and past curatorial responsibilities as well as areas of learning that you feel this seminar can address.

Please send all application materials to curatorialseminar@hammer.ucla.edu by January 15, 2025. Participants will be notified by February 1, 2025.

With support from Getty through its Paper Project initiative, Tamarind Institute invites applications from early-career curators and print scholars to participate in an immersive, hands-on workshop on fine art lithography. Ten participants will be selected for the workshop, which takes place at Tamarind Institute, Albuquerque, New Mexico, May 19-23, 2025.

Tamarind Education Director Brandon Gunn will lead the workshop, providing an overview of the materials and technical process of lithography, printing demonstrations, and hands-on instruction with the assistance of Tamarind printers. Participants will also learn about the collaborative exchange between artist and printer at Tamarind. An evening program provides workshop participants an opportunity to share information about their home institution collections and research. Following the workshop, participants will be asked to report back for a virtual public panel discussion in June to present on a topic of interest gleaned from the workshop and plans for future research that may result from this program.

Travel, lodging, meals, and transportation will be covered by Tamarind. Participants will receive a $250 stipend. The workshop will include a full itinerary, with three days in the workshop, presentations by Tamarind staff, and visits to Takach Press, the Tamarind Archives at the University of New Mexico Art Museum and the Center for Southwest Research. The overarching goal of the workshop is to encourage curatorial access to Tamarind Institute, its related archives and resources, with the objective of sharing material knowledge and encouraging diversity within the print field.

Preference will be given to early-career curatorial professionals (curators, curatorial or research assistants/associates, postdoctoral fellows) who completed a graduate degree (or equivalent) within the last ten years. Advanced graduate students and independent scholars with demonstrated interest in printmaking and print history will also be considered. Applicants will be notified in early December 2024.

Applications are due November 1, 2024.

Workshop Dates: February 3-6, 2025

Location: Brooklyn, NY

Application Deadline: May 20, 2024

About the Seminar

Dieu Donné invites applications for an intensive four-day, hands-on workshop and seminar on hand papermaking in fine art for early- to mid-career curators and specialists in the field of prints and drawings. Participants will be selected through a competitive open call. All expenses will be paid.

The goal of the seminar is to empower curators and print specialists to better understand papermaking as a medium, artworks on and of paper, and the relationship of papermaking to printmaking and drawing. The seminar will include a hands-on papermaking workshop, demonstrations of Eastern and Western techniques, lectures on the history and contemporary practice of papermaking, close study of handmade paper artworks, and visits to collaborative print/paper studios and museums with major collections of paper works in New York City. Through gaining hands-on experience with a range of papermaking techniques, participants will unlock a deeper understanding of paper artworks and the artmaking process.

This program is made possible with generous support from Getty through The Paper Project Initiative.

Eligibility

Ideal participants include emerging to mid-career curators, with up to 20 years of experience, whose curatorial focuses are in print, drawing, or other related paper-based artworks. Dieu Donné will also consider applications from other kinds of print and drawing specialists, including independent researchers, conservators, doctoral candidates, post-docs, and other arts professionals. Affiliation with a museum or institution is preferred but not required. U.S.-based and international applicants are both encouraged to apply.

About Dieu Donné

Dieu Donné is the leading non-profit cultural institution dedicated to serving emerging and established artists through the collaborative creation of contemporary art using the process of hand papermaking. Since 1976, Dieu Donné has introduced artists to the vast potential of hand papermaking as an art medium through residencies, fellowships, exhibitions, workshops, artist talks, and publications. Our archive encompasses over 4,000 artworks made in handmade paper by over 800 artists over the course of our 48-year history, and works made at Dieu Donné are held in the collections of major museums, including The Getty Museum, MoMA, the Metropolitan Museum of Art, and the Whitney Museum of Art, among others. Through extensive collaborations with Master Papermakers, artists from a wide variety of practices explore the creative possibilities of hand papermaking – fostering experimentation and producing innovative works of art. Dieu Donné strives to teach a new visual language, providing a transformative experience that leads to artistic breakthroughs.

Application Instructions

Applications are only accepted via our online Slideroom portal. Please do not mail or e-mail application materials. Applicants are required to provide a CV, statement of interest, a letter of recommendation, and answer a few short questions regarding their background and research.

Application due on May 20, 2024 at 11:59 PM EDT.

Please email dieudonne@dieudonne.org with any questions.

Content
The artistic and industrial printing techniques undergo a constant development. Modern technology allows a great variety of relief, intaglio, lithography, screen and digital print. Therefore, the artistic prints can no longer be limited only to the classical techniques. Artists are using the new technical possibilities with interest. Therefore in the identification of the artistic works we are also confronted with mechanical, mostly photomechanical techniques.

In the course both manual artistic printing techniques and photomechanical techniques are introduced. However, the focus will be on the manual processes. The individual printing techniques with their numerous subgroups will be presented in detail during lectures.

In the practical part the two days offer the opportunity to look at a great number and variety of original prints under magnification. There are several stereo microscopes available. During these exercises the special characteristics of each technique will be worked out.

The two days provide an opportunity to look at a great number and variety of original prints under magnification and to exercise the identification of their techniques.