GRANTS & AWARDS

 

The IFPDA Foundation provides various grants and awards throughout the year, benefiting many deserving institutions and organizations. Currently, the foundation offers Foundation Grants, the Book Award, Curatorial Internship grants, the Richard Hamilton Acquisition Prize, and the Jordan Schnitzer Award for Excellence in Printmaking. 

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BOOK AWARD

 

The IFPDA Book Award was founded in 2004 to highlight and promote published books, articles, or catalogues on fine prints. This annual award honors excellence in research, scholarship, and the discussion of new ideas in the field of fine prints. The award provides one outstanding recipient and publication with a prize of $3,000, and represents another milestone for the organization. As a result, the winner will receive acclaim from one of the most recognizable bodies in the print world.

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The application for the 2021 IFPDA Foundation Book Award is now open.

 

The jury limits its consideration to books published during the prior year. Each submission will be vetted by members of the jury, who have been selected according to their expertise in that particular field or specialty. They will consider the use of original ideas, fresh research and individual interpretations. The jury will review the submissions and the award will be announced at the Collectors and Curators Breakfast during the IFPDA Fine Art Print Fair in October.

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Click here for the Guidelines

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Click here to apply

2020 Winners

 

The Renaissance of Etching

 

Catherine Jenkins, Nadine M. Orenstein, and Freyda Spira

The Metropolitan Museum of Art

Distributed by Yale University Press

An accompaniment to the highly acclaimed Met exhibition which took place from October 23, 2019–January 19, 2020,  the book is the first comprehensive look at the origins and diffusion across Europe of the etched print during the late 15th and early 16th centuries. 

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The Women of Atelier 17: Modernist Printmaking in Mid Century New York

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Christina Weyl

 

Yale University Press
 

In this important and timely book, Christina Weyl takes us into the experimental New York print studio Atelier 17 and highlights the women whose work there advanced both modernism and feminism in the 1940s and 1950s, defying gender norms through novel aesthetic forms and techniques. Weyl focuses on eight artists—Louise Bourgeois, Minna Citron, Worden Day, Dorothy Dehner, Sue Fuller, Alice Trumbull Mason, Louise Nevelson, and Anne Ryan—who bent the technical rules of printmaking and blazed new aesthetic terrain with their etchings, engravings, and woodcuts.  

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