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.

lected 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.

of the biennial congress of the Society for Italian Studies, is a unique opportunity to access the interior of the iconic Print and Drawing study room to see a selection of Italian prints and drawings from the 1460s to 1500.
During the visit, a selection of works by the main authors of this period such as Antonio Pollaiuolo and Andrea Mantegna, will be on display. Complemented by works of Albert Dürer and Raphael, artists particularly relevance to the development of the identity of Italian printmaking in the Cinquecento.

Due to the special characteristics of the space and the security and conservation measures, a limited number of places will be offered and will be assigned according to the order in which the activity is requested.

*** To reserve a place please contact Javier Jurado García by email: jajurado@ucm.es

aking 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.

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.

aking 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.

iod, 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.

by outside vendors
Oversee preservation activities for the Wesleyan Library, including leading the Library Emergency Response Team to develop and oversee disaster and emergency preparedness and response plans, and liaise with campus facilities staff on environmental controls
Collaborate with faculty to design and provide experiential learning activities and demonstrations in support of the curriculum; provide instruction on an individual basis with advanced and beginning students in the creation of book arts objects of their own design and interest; create and conduct workshop offerings and create interest in events through advertising and outreach
Perform conservation treatments on a variety of primarily paper-based special collections and general collections materials, including bound materials, archival items, and photographs; consult on artifacts, textiles, and other formats
Create a teaching environment open to various cultural approaches to design and interpretation; encourage a diverse student population to utilize the conservation lab; develop creative approaches to encourage use by students of all abilities
Train library staff and students to perform less complex treatments/repairs and/or preservation housings for shelf preparation
Collaborate with other campus entities relevant to book arts and design, including the Shapiro Writing Center, the IDEAS Lab, Digital Design Studio, and Center for the Arts, to provide experiential learning opportunities and workshops; promote awareness of and connection between these groups
Design and execute preservation assessments and surveys as needed
Other duties as assigned

h quality management and support for the Grunwald Center for the Graphic Arts' collections, exhibitions, and curatorial projects. Responsible for daily management and oversight of the Grunwald Center collection of works on paper as well as the Armand Hammer Permanent Collection, the Armand Hammer Daumier and Contemporaries Collection, and the Murphy Sculpture Garden.

Conducts research on the collection and responds to research requests; organizes and oversees class visits to the study center; oversees reinstallations of the permanent collection galleries; and coordinates exhibitions organized by the Grunwald Center Director and Chief Curator. The Curatorial Assistant also assists with online collection projects as needed and co-organizes an annual fall seminar using works from the collection for advanced UCLA undergraduate students.
Develop, research, plan, and oversee complex exhibitions, collections projects, programs, and events under the direction of lead curators. Carefully and thoughtfully organize all aspects of exhibitions and projects including initiations, approvals, budgets, contracts, correspondence, travel/hospitality, logistics/technical requirements, communications, visitor experience, artist relationships, documentation, and other details as appropriate.

, 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.