In histories of art as in contemporary practice, we rarely consider where ink wiped off a printing plate ends up or how reams of trial proofs get recycled. When we celebrate end products of creation, we silence and conceal the flows of waste to which all making inevitably contributes. NET-ZERO PRESS, a new impact project funded by the University of St Andrews and led by Dr Ruth Ezra, Lecturer in Art History, aims to work with contemporary stakeholders, educators, and practitioners across the printmaking landscape of Scotland to "start from trash" as we trace waste flows in print shops and act on these data to propose strategies for making studio spaces (from classrooms to open-access workshops) less toxic and more sustainable.

To launch the project, a group of art historians, practitioners, and technicians will gather together for a workshop at Dundee Contemporary Arts (DCA) on Tuesday 21 October, 10:30 a.m. to 4 p.m. Our goal? To share stories from the print room floor.

Interested participants should prepare a 10-minute presentation wherein they tell the story of one material that features in their practice, tracking its lifespan from acquisition through consumption, transformation, and disposal. The tone is meant to be light and exploratory and the company, congenial. We will conclude the workshop with a guided tour of the DCA print room, with a focus on waste flows and reuse. Any artists presenting will be paid a stipend of four hours at the Scottish Artists’ Union rate, based on years of experience. An additional hour of comfort break/lunch will be provided as part of the day, as well as an optional closing half-hour of tea and chat. Local economy travel expenses (train/bus) to and from Dundee city will be reimbursed.

Interested? Email netzeropress@st-andrews.ac.uk with a description of your material; an 150-word summary of your object story; and a CV by 15 September 2025. Participants will be notified of acceptance by September 21. If you live outside of the UK but would like to attend in a virtual capacity, please also feel free to get in touch.

Learn more about the project: http://netzeropress.wp.st-andrews.ac.uk
http://linktr.ee/netzeropress

Job Title: Oral History Project Assistant (Hourly)
Status: Part-time, Non-exempt (hourly)
Location: Remote
Compensation: Hourly commensurate with experience
Deadline: Applications will be reviewed on a rolling basis until the position is filled.
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ABOUT THE ATELIER 17 PROJECT
The Atelier 17 Project, Inc. is a nonprofit research initiative dedicated to preserving and promoting the legacy of Atelier 17, the influential printmaking studio founded by Stanley William Hayter (1901–1988). Honoring the studio’s centennial in 2027, we are conducting a series of oral history interviews with former members of the Atelier 17 studio. These interviews occur virtually and last for approximately 1 hour.

POSITION OVERVIEW
We seek a detail-oriented Project Assistant to manage the post-production workflow of our recorded interviews. Working closely with the Executive Director, artists, interviewers, and an AV editor, the assistant will ensure timely delivery of high-quality transcripts and media files.

KEY RESPONSIBILITIES
Media Coordination
- Download RAW audio and video files from Riverside after each interview.
- Organize and transfer files to the designated AV editor, maintaining clear naming conventions.
Transcript Production
- Import final edited video into Descript and generate an initial automated transcript.
- Review and refine the automated transcript for accuracy, with special attention to technical printmaking terminology and French-language names/phrases.
- Flag ambiguities or questions for follow-up with the interviewer or artist.-Stakeholder Review Cycle
Stakeholder Review Cycle
- Circulate draft transcripts to the Executive Director, interviewer, and artist; track comments and incorporate revisions until the transcript is approved.
- Maintain version control and a status log for each interview.
Project Tracking & Documentation
- Track the progress of each oral history interview, outstanding tasks, and due dates.
- Ensure we have signed release forms from both interviewers and artists.

QUALIFICATIONS
- Project & Workflow Management: Proven ability to juggle multiple projects and deadlines with exceptional attention to detail.
- Technical Proficiency: Comfort working in cloud-based environments (Google Drive, Descript, etc.). Familiarity with Descript and Riverside.fm
- Language & Communication: Excellent written English and strong proofreading skills. Working knowledge of French pronunciation and vocabulary is a plus.
- Subject Matter Familiarity: Knowledge of twentieth-century printmaking and modernism to ensure accurate use of terminology, names, and context during transcript review.


TIME COMMITMENT
Workload may vary month-to-month, based on the schedule of oral history interviews.
Schedule is flexible but must accommodate prompt turnarounds after interviews.


COMPENSATION & BENEFITS
Hourly rate based on experience (please include desired rate in your application).
Flexible remote work environment.
Opportunity to contribute to a landmark centennial research initiative and deepen expertise in modern printmaking history.


HOW TO APPLY
Please email the following to info@a17project.org with the subject line “Oral History Project Assistant – [Your Name]”:

- Brief cover letter outlining your relevant experience and availability.
- Résumé/CV (2 pages max).
- Reference from previous employer may be requested, after interview.

Applications will be reviewed on a rolling basis until the position is filled.

When an object is collected, it begins a new life. It does not freeze in time, as it can still be altered and manipulated. This panel, sponsored by The Society for the History of Collecting, seeks to analyze, on a visual, material, and theoretical level, the various interventions made by artists, collectors, merchants, and restorers on artworks after their completion as these came to be part of a collection. Within this framework, many concepts come into play: reworking, retouching, alteration, manipulation, integration, correction, refreshing, reframing, repurposing. These interventions often respond to a need for conservation or restauration, sometimes they are carried out for esthetic or repurposing needs, other times they are the result of a misunderstanding as to an object’s original intention when this crossed cultural boundaries.
Whatever the reason, such practices have consequences that lead to changes in the artwork’s status of completeness, its function, its display or storage, and the way it is interpreted. Identifying, analyzing, and understanding these practices allows for a layered understanding of an object's life, from its production to its reception, within a complex temporal framework. What type of interventions are executed? How are they carried out, and by whom? Are there written sources that transmit this technical and material knowledge? What are the aesthetic and theoretical consequences of these actions on the objects themselves? Moreover, nowadays, how do scholars critically define these practices, considering their complex entanglements with concepts of authorship, originality and style?
Open to different media, we welcome contributions that explore cases from any geographical region during the early modern period. By privileging both diachronic and synchronic approaches, we aim to measure and analyze the growing interest in the physical condition of artworks, as well as in the conservation, restoration, and repurposing practices applied to objects within collections, broadly understood.

Proposals should be for 20-minute papers and must include a title (15 words maximum), abstract (150 words maximum), keywords and a CV (1 page maximum). Speakers will need to be members of RSA and members of The Society for the History of Collecting at the time of the conference. Please send your submission before 10 August 2025 (PDT) to Federica Gigante (federica.gigante@ames.ox.ac.uk), Alice Ottazzi (alice.ottazzi@khi.fi.it) and Adriana Turpin (adrianaturpin@gmail.com). Applicants will be notified by 11 August.

The American Historical Print Collectors Society announces December 1, 2025 deadline for new submissions for its Newman Publication Awards

For more than thirty years, the American Historical Print Collectors Society (AHPCS) has recognized significant scholarship in the field of American historical prints with its Ewell L. Newman Book Award. In 2023 the AHPCS added two new awards to recognize shorter works published in journals and edited volumes, including exhibition catalogues and digital formats. The Essay award is named in honor of Lois W. Newman, a founding member of the Society, who continued as a generous supporter of the publication awards after her husband’s death.

Each annual cycle typically results in one book award in the amount of $2,000 and two essay or article awards in the amount of $750 each. One of the essay awards usually will be designated for the best article published in the AHPCS journal Imprint, as selected by the Newman Award Committee. Awards are not necessarily presented each year but are determined by the quality of available submissions. Occasionally, there may be multiple winners in an individual year.


Submissions – Deadline December 1, 2025
The purpose of the AHPCS book and essay awards is to recognize and encourage outstanding scholarship in the field, as defined in our mission statement: prints depicting or reflecting North American history and culture, made either in America or elsewhere. Our focus is on American historical prints and their imagery as visual culture. Original research, fresh assessments, and the fluent synthesis of known material will be taken into account. The emphasis is on quality and on making an outstanding contribution to the subject.

Essays between 3,000 and 10,000 words will be considered. Works should be submitted in published form as a hard copy or digital attachment. The Society’s Newman Award Committee will serve as the jury to evaluate both books and article submissions. Jurors are all AHPCS members and include collectors, curators, and scholars of American prints.

Publications remain eligible from the year of publication through the following year, a period of approximately two years. Once a work has been reviewed by the jury, it will not be considered in a subsequent cycle except in a substantially revised edition. Submissions received by December 1st will be considered for the award announced the following spring.

Contact information
To submit material to the committee for consideration, please mail a copy to:
Helena E. Wright, 4628 49th Street NW, Washington, DC 20016
For additional information, please contact the Committee chair at:
wrighthelena16@gmail.com

Publishers and authors, please note: if it is possible to provide multiple copies, it would facilitate distribution of the publications among the Committee and speed their work. Please contact the Committee chair for individual addresses. Thank you.

The AHPCS is a non-profit corporation that encourages the collection, preservation, study, and exhibition of prints depicting or reflecting North American history and culture, made either in America or elsewhere. For further information about the Society, please visit the website at https://ahpcs.org. A list of all Newman Publication Award winners to date can be found at https://ahpcs.org/newman-award-winners/ and https://ahpsc.org/essay-award-winners

APS members Ruth Pelzer-Montada and Sandra De Rycker’s call for Participation in the CAA 114th Annual Conference (February 18-21, 2026) is now live:

We welcome contributions from artists, art historians, curators, educators, printers, and printmaking workshops that consider the important creative ecologies and often neglected infrastructures of the print workshop from various perspectives.
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What would it mean to approach the model of a print workshop from an ‘intra-active’ perspective (Barad, 2007)? That is, to explore such environments as dynamic, agential and material-discursive phenomena? Considering workshop commonalities (such as printers’ preparation and processing of plates, stones or screens), as well as specificities (individual expertise, technological apparatuses, ecological approaches, spatial dynamics, differing models of collaboration), we wish to ask: How do prints operate in the workshop setting as non-human (objects, things, materials) and humans (artists, printers, institutions) mingle and/or intra-act?
Following Jennifer L. Roberts’ (2024) close investigations of the materiality of print processes, this session proposes further enquiry into the social and material groundings of the print workshop. Despite scholarly examinations of individual 'master printers' (Stanley William Hayter, Robert Blackburn, Kenneth Tyler, Stanley Jones); particular print workshop set-ups (Paul Laidler, 2011; Christina Weyl, 2019) and important collaborating printers’ accounts of working with artists (Craig Zammiello, Kathan Brown, Phil Sanders) this area remains seldom studied and undertheorized.

This session invites artists, art historians, curators, educators, printers and printmaking workshops to consider these often neglected ecologies from various perspectives, drawing on new-materialism and related interdisciplinary methodologies including decolonial, feminist, intersectional and eco-critical approaches. Taking account of print-making’s transitory states as well as its interrelationships with wider material, social, political, economic and institutional networks, we welcome proposals that delve into the dynamics of collaboration, tacit learning and embodied knowledge, and corresponding values in and beyond the print workshop, to elucidate these important and currently threatened infrastructures.

The Curatorial Fellow will work with Curator of Prints and Drawings on a project related to 20th-century American art and the watercolors of Andrew Wyeth. The fellowship is a part-time position, working 2 days per week for 60 weeks. This role will involve researching artworks through primary and secondary research, managing details on the exhibition checklist, assisting with didactic materials, and participating in public programming. The fellow will have the opportunity to learn about various aspects of exhibition and publication development by working closely with the curator on related tasks and may also assist with other projects related to modern and contemporary works on paper. The timing and hours of this fellowship can be flexible depending on the candidate’s schedule. The ideal candidate is a current or recent graduate student with an interest in works on paper.

APS Sponsored Call for Papers:
Renaissance Society of America, Feb 19-21, 2026, San Francisco
Witchcraft and Magical Knowledge in Early Modern Print Culture

Positioned at the intersection of visual and textual culture, print played a critical role in shaping both imagined and institutional responses to magic, witchcraft, and the occult. Its advent in fifteenth-century Europe enabled the widespread circulation of texts and images concerning magic and witchcraft, ranging from demonological treatises and legal handbooks to illustrated broadsides, sensational pamphlets, and works of art by renowned early modern artists. Far from signaling a “decline” in magical thinking, this proliferation of printed material suggests a redefinition of the boundaries of magic, both as a practice and as a conceptual category. Print culture served simultaneously to document, disseminate, and delimit magical knowledge. It reflected emerging interests in classifying popular beliefs, integrating occult ideas into new natural philosophies, and asserted control over invisible forces through the apparatus of increasingly centralized religious and political authorities.

Organized in conjunction with the Cunning Folk: Early Modern Witchcraft, Magic, and Occult Knowledge exhibition at the Cantor Arts Center, this panel invites papers that explore how magic, witchcraft, and the occult were represented and contested through print. We welcome contributions that address a wide range of magical topics across early modern Europe and the Atlantic world. This can include papers that address the interplay between image and text in constructing magical authority, articulating fear or fascination, and/or legitimizing its control. Possible themes include, but are not limited to:

● Witchcraft, magic, and the supernatural in broadsides, ballads, and newsprints
● The aesthetics and materiality of grimoires and printed books of magic
● Relationships between the print culture of magic and painting, decorative arts, architecture, or other visual forms
● The printed/published visual rhetoric of witchcraft and demonology and its relationship to state or ecclesiastical power, including trials and punishment
● The representation of cunning folk and popular healing in print
● Artists and publishers as mediators of magical or occult imagery
● Magic, race, and colonial knowledge systems in transatlantic print culture
● Archival gaps and historiographical challenges in the study of printed magic
● New interpretations of specific witchcraft prints or illustrated books
● Presentations on exhibitions, curatorial activities, archival/library initiatives, conservation projects, or other museum practice with objects related to this theme

Papers should be in English and a maximum of 20 minutes in length. Presenters at any stage of their career are welcome to apply.

Please send the following materials to Sara Frier at sfrier23@stanford.edu, by August 1, 2025:

• Paper title and abstract (400 word max) with a summary of key conclusions
• Full name, current affiliation, and email address
• Curriculum vitae (no more than 2 pages)

Notifications of acceptance will be sent by August 4, 2025. For any questions, feel free to contact Sara Frier.

Women Printmakers in the Early Modern World
An APS-sponsored session for RSA 2026
Abstracts due: July 25

The history of early modern printmaking has long centered on male engravers and publishers, leaving the contributions of women largely overlooked and insufficiently theorized. Yet ongoing archival research and recent scholarship continue to recover names, works, and forms of labor that unsettle the conventional picture of how prints were made, circulated, and valued. Across Europe and beyond, women participated in the world of intaglio and woodcut not only as inheritors of family trades but also as brilliant amateurs or as anonymous contributors to the devotional image economy. Their presence complicates neat distinctions between art and craft, genius and labor, public and private spheres.

This session invites papers that center the work of early modern women printmakers (c. 1450–1700) in any geographic context. We welcome close readings of individual artists and works, as well as methodological or historiographic interventions that reflect on how and why women’s labor as printmakers has remained so difficult to see. Possible questions include—but are not limited to:

• How did women access the training, tools, or networks necessary to enter the world of printmaking?
• What kinds of images were women printmakers asked to produce—or found themselves producing—and how were these works received?
• In what roles did women participate in workshop economies, and what forms of collective or domestic labor supported their production?
• What critical frameworks might allow us to better apprehend this history and the absences that define it?
The papers, in English, should be 20 minutes in length. Scholars at any stage of their career are encouraged to apply. Travel support may be available thanks to Stanford University.

Please send the following materials to Emanuele Lugli, elugli@stanford.edu, and Rhoda Eitel-Porter, editor@printquarterly.co.uk by July 25, 2025:

• Paper title and Abstract (400 word max). The abstract should briefly cover the main points of the paper, including its research topic, the main findings and their significance.
• Full name, current affiliation, and email address
• Curriculum vitae (no more than 2 pages)
Notifications of acceptance will be sent by August 4, 2025.

For any questions, feel free to contact Emanuele Lugli or Rhoda Eitel-Porter

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.

Call for Papers: Hemisphere: Visual Cultures of the Americas, Volume XVII. Send completed materials to hmsphr@unm.edu. Deadline: Monday, June 30, 2025
We invite graduate students (MA & PhD) to submit work on topics such as agency and political interventions, geopolitical landscapes, cartographies and borders, migration and transnationalism, memory-making and alternative archival practices, belonging and identity, food relations and visual culture, gender and sexuality, indigeneity, and methodologies (decolonial, feminist, anti-imperial, critical race theory, etc.)

Submission Types:
-Research Articles (20-30 pages)
-Exhibition/Performance Reviews (5-10 pages)
-Interviews (5-10 pages)
-Book Reviews (5-10 pages) on recent works related to Central American art and visual culture, including:
-Carnalities by Marianna Ortega (2025)
-Visual Disobedience by Kency Cornejo (2024)
-Central American Counterpoetics by Karina Alma (2024)

Submission Guidelines:
-Only completed works from graduate students will be considered.
-Submissions in English, Spanish, or Portuguese.

Read more about the publication at https://digitalrepository.unm.edu/hemisphere/

Email submissions to hmsphr@unm.edu by Monday, June 30, 2025.