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.

When tasked with building a collection of prints for the Metropolitan Museum of Art in 1916, William Ivins set forth a clear mandate. He declared: “the print collection of a museum cannot be formed solely upon Yes and No answers to the question: Is it a work of art? Rather it must be, like the library of a professor of literature, composed of a corpus of prints in themselves distinctly works of art, filled out and illustrated by many prints which have only a technical historical importance. To make a museum collection on strictly aesthetic grounds would perforce end in amassing a body of material which would reflect rather the immediate personal predilections of the group of men who formed it than anything else.”

This session seeks to examine how specific collections of works on paper were thoughtfully and methodically assembled from the very beginning. In cases where inaugural curators or collectors record their objectives, how apt are these in hindsight? Who was identified and anticipated as the audience for the collection, and how did that impact the collectors’ goals for acquisitions? How did the collectors’ organizing principles-the internal categorization-play a role in the collections’ formation and development? Papers are sought that focus on collections whose main criteria were not solely aesthetic or nationalistic, and preference will be given to papers focusing on museum collections.

Please send proposals that are no more than 150 words and a CV to: Elizabeth Rudy, Harvard Art Museums, elizabeth_rudy@harvard.edu and Freyda Spira, Metropolitan Museum of Art, freyda.spira@metmuseum.org by June 12.

“I Am Here: Prints Against All Odds” Vol. 5 No. 3
This issue of Art in Print looks at prints made in the midst of crisis: internment camps, civilian bombings, exile and incarceration. 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 June 2015
Text deadline: 1 July 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.

Despite its centrality to conventional narratives of early modern Italian
art, sixteenth-century Florence’s place within the evolving history of
printmaking remains, in many respects, nebulous. Who produced engravings
and woodcuts within the sixteenth-century city? In an environment saturated
with artists and craftsmen, why were so many Florentine print designers -
including Vasari and Stradano - sending their drawings to northern Italy
and even beyond the Alps for production? Who constituted the public for
prints within the city and how were the products of the press collected and
displayed? We seek new research that explores print design, production and
collection in the vibrant and rapidly changing artistic environment of
sixteenth-century Florence. Studies may examine particular Florentine
printmakers, designers, publishers and collectors or explore themes
including seriality, invention, developing technology, emerging markets, or
the materiality of the printed image.

Please send a 150-word abstract and 300-word CV to organizers Lia Markey (
lia.markey@gmail.com) and Sean Roberts (robesean@gmail.com) by Wednesday,
May 6th.

In conjunction with the opening of Beyond Bosch: The Afterlife of a Renaissance Master in Print, the Saint Louis Art Museum presents a day of in-depth discussions in the galleries. Attendees will have the opportunity for a first viewing of the exhibition before the Museum opens to the public and to participate in dialogue with scholars, including guest speakers Matthijs Ilsink (Bosch Conservation and Research Project), Nadine Orenstein (Metropolitan Museum of Art), and Larry Silver (University of Pennsylvania), and the exhibition’s curators, Marisa Bass and Elizabeth Wyckoff.

The prints on display raise many issues central not only to the study of Hieronymus Bosch but early modern art in general: changing notions of authorship and invention; the rise of the print market; the function and meaning of new pictorial genres; and collecting culture. The exhibition also addresses the relation between Bosch and the prints of Pieter Bruegel the Elder, who launched his career in dialogue and competition with the legacy of his predecessor.

This event is free, but advance registration is required. Space is limited. To register, emailstudyday@slam.org or call the Study Day hotline at 314-655-5136. You will receive a response to confirm your registration.

Further information on the exhibition itself can be found here: http://slam.org/exhibitions/beyondbosch.php

The UCLA Grunwald Center for the Graphic Arts at the Hammer Museum, a significant collection of over 45,000 prints, drawings, and photographs dating from the Renaissance to the present, is pleased to announce a new paid fellowship opportunity for the 2015-2016 academic year. The fellow will be responsible for researching and cataloging selected areas of the collection in preparation for an online collections search. Additional responsibilities may include giving class presentations and gallery talks, answering queries about the collection, and interacting with scholars, students, and the public on matters concerning the collection.

Interested candidates should apply by sending a resume and cover letter to resumes@hammer.ucla.edu and including “Grunwald Curatorial Fellowship” in the subject line. The application must be received by May 15th. Complete details are listed below.

Term length and compensation:
The fellow will work 36 hours a week for 9 months beginning September 2015. The selected candidate will receive a $30,000.00 salary as well as a modest travel and research allowance.

Cataloging Project Description:
The collection area will be determined based on the expertise and interests of individual applicants. Possibilities may include but are not limited to:

· Approximately 160 Old Master drawings (including French, German, Flemish, and Italian examples from the 15th through 18th centuries)
· The Richard Vogler Cruikshank collection, comprising roughly 3,500 prints and book illustrations by 19th century illustrator and caricaturist George Cruikshank, as well as several hundred additional works by Percy, Isaac, and Richard Cruikshank
· Approximately 700 works (largely drawings and preparatory maquettes for subsequent works many of which are also in the collection) by contemporary California printmaker Corita Kent (1918-1986), part of a major bequest of 1400 works from the estate of Sister Corita to the Grunwald Center
· Approximately 1600 ornament prints by French, German, and Italian artists spanning the 16th through the 18th centuries
· 20th century American prints, of which the Grunwald has substantial holdings (artists include Garo Antreasian, Misch Kohn, John Paul Jones, Louise Nevelson, and June Wayne)
· The Grunwald’s substantial holdings of German Expressionist Prints (artists include Max Beckmann, Ernst Ludwig Kirchner, Käthe Kollwitz, Franz Marc, Emil Nolde, and Karl Schmidt-Rottluff)


Desired qualifications:
The ideal fellowship candidate will be an advanced graduate student in art history or history (with an emphasis on visual studies or material culture) or recent PH.D. who has experience with or knowledge of works on paper derived from coursework, independent research, prior museum experience, or some combination of the above. Ability to read French, German, or another foreign language highly preferred. Some familiarity with digital humanities research is welcome but not required. The ideal candidate will be organized, meticulous, and capable of working successfully both independently and in collaboration with others, and will possess a demonstrated ability to conduct independent scholarly research.

Application materials and procedure:
Please send a resume and cover letter to resumes@hammer.ucla.edu by May 15th, 2015. Include “Grunwald Curatorial Fellowship” in the subject line. Interested applicants should directly address their experience with and interest in working with prints and drawings and their goals for undertaking this fellowship, and they should indicate which target area best matches their interests and abilities. Applicants selected for an interview will be notified by early June.