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September 10, 2020 - IFPDA Foundation Announces Annual Grants and Awards for 2020
January 10, 2020 - Applications for Summer 2020 Curatorial Internship grants are now open to eligible institutions
August 30, 2019 - IFPDA Foundation Announces Annual Grants and Awards
August 1, 2019 - Tickets On Sale for the IFPDA Foundation Cocktail Benefit
IFPDA Foundation Grants
The Foundation provides financial support to museums and non-profit organizations for exhibitions, publications, and educational projects that promote greater awareness and understanding of printmaking and drawing as artistic mediums.
Grants are made to non-profit organizations that are certified tax-exempt under section 501(c) (3) of the U.S. Internal Revenue Service code. Applications from organizations outside the United States that can document not-for-profit status will also be considered.
Please download the Grants Guidelines for complete details.
2007
Chazen Museum of Art, University of Wisconsin, Madison
Competition and Collaboration: Japanese Prints of the Utagawa School
2007
Connecticut Historical Society Museum
Picturing Victorian America: The Kellogg Brothers of Hartford and Their Prints, 1830-1880
2007
Philagrafika
Working States
2007
Vanderbilt University Fine Arts Gallery
More Than One: Contemporary Prints and Multiples from the Vanderbilt University Fine Arts Collection
2006
Association of Museum Curators for the Nord-Pas de Calais
Feuille a Feuille: Printed Images
2007
Davis Museum and Cultural Center, Wellesley College
Grand Scale. Monumental Prints in the Age of Durer and Titian
2007
Newark Public Library
A Gala Survey of Graphic Art: Celebrating A century of Print Collecting
2006
Worcester Art Museum
Early American Prints
The IFPDA Foundation Book Award
The IFPDA Book Award was founded in 2004 to highlight and promote published books, articles, or catalogues on fine prints and drawings. This annual award honors excellence in research, scholarship, and the discussion of new ideas in the field of fine prints and drawings. 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 prints and drawings world.
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 IFPDA Fair in April of 2027.
Applications for the 2027 IFPDA Foundation Book Award are now open.
2026 Winner
Lines of Connection: Drawing and Printmaking, 1400-1850
Edina Adam and Jamie Gabbarelli
Getty Publications
Imprint: J. Paul Getty Museum + The Art Institute of Chicago
The first volume to chart the rich and reciprocal relationship between drawing and printmaking from the fifteenth to nineteenth centuries.
While often viewed and studied separately, drawings and prints have always been closely intertwined. They facilitated and generated the production of one another, and in some instances, clear distinctions between the two dissolved. Many artists created drawings specifically intended for translation into print, and an even greater number used prints as a training tool, copying from them to hone drawing skills. This reciprocal relationship goes even deeper, however, as innovative artists made fascinating hybrid works that blurred the boundaries between the two media, pushing against modern definitions and hierarchies.
2026 Winner
Karamu Artists Inc. : Printmaking, Race, and Community
Britany Salsbury and Erin Benay
Contributions by Richard J. Powell, Jacqueline Francis and Curlee Raven Holton
Cleveland Museum of Art
An exploration of the rich history of printmaking at Cleveland’s Karamu House, a center of Black arts, culture, and community since 1915
Karamu House, founded as a settlement house in Cleveland, Ohio, in 1915, is one of the preeminent homes of Black arts, culture, and community in America. Noted for its theater program, Karamu House also hosts a rich legacy in the graphic arts. Printmaking workshops open to artists and community alike launched in the 1930s, allowing a young Langston Hughes—as one notable example—to experiment with print.
Linked with printmaking’s ethos of accessibility and democracy, a group including Elmer W. Brown, Hughie Lee-Smith, Charles L. Sallée Jr., and William E. Smith—some of the most prominent Black printmakers of the WPA era—founded Karamu Artists, Inc. Reproductions of works by such artists are accompanied by essays situating the prints, the artists, and this locus of Black arts and culture in the histories it shaped. These writings are complemented by an interview with printmaker and Karamu alumnus Curlee Raven Holton.
2025 Winner
The Radical Print: Art And Politics In Late Eighteenth-Century Britain
Esther Chadwick
Paul Mellon Centre for Studies in British Art
This volume argues for printmaking in Britain as the most exciting, innovative, and critically engaged field of artistic production in the late eighteenth century. Moving the print from the margins to the centre of the study of art history, this new critical study demonstrates how print responded to the acceleration of historical events, the polarisation of public discourse, and the sense of a world turned upside down in ways that traditional artistic media could not.
2025 Winner
Terry Winters: The Printed Work, A Catalogue Raisonné
Richard H. Axsom
Jordan Schnitzer Family Foundation
Across four decades of his work, Terry Winters has been examining, in various iterations, the relationships between modernist abstraction, information systems, and the architecture of the natural world. While predominantly a painter, Winters is also known for his drawing and printmaking. Each of these different media furthers his overall project where mark making is seen as a pictorial process, and where each medium is used to reveal new subjects and possible meanings.
2024 Winner
A Model Workshop: Margaret Lowengrund and The Contemporaries
Ed. Lauren Rosenblum, Christina Weyl
Hirmer Publishers
This volume explores the understudied impact of Margaret Lowengrund (1902–1957) – a visionary leader, organiser and critic within the mid-twentieth century printmaking community – and the vibrant New York print workshop/gallery she founded, "The Contemporaries". The book expands histories of 1950s printmaking by showing Lowengrund and The Contemporaries to be a vital nexus in the mid-century print field, placing them within a constellation of contexts including organised labour, feminisms and entrepreneurship, international exchange, and making the modern print.
2024 Winner
The Circulating Lifeblood of Ideas: Leo Steinberg's Library of Prints
Holly Borham
Blanton Museum of Art
Beginning in the early 1960s, with only the meager budget of a part-time art history professor, Leo Steinberg (1920–2011) amassed a collection of more than 3,500 prints that spans the medium’s five-hundred-year history in the West. Akin to books on a shelf, Steinberg’s prints formed a visual library that shaped his scholarship in fundamental ways. His collection, incorporating the work of artists both famous and obscure, illuminates his claim that in the era before photography, prints functioned as the “circulating lifeblood of ideas,” disseminating figures, compositions, and styles across boundaries of geography, time, and medium.
2004
Kiki Smith: Prints, Books & Things
Wendy Weitman
The Museum of Modern Art, New York
Published 2003
AUC Art Collective + IFPDA Internship Program
The Atlanta University Center Art History + Curatorial Studies Collective prepares undergraduate students for careers in the visual arts. The collective is comprised of three schools --- Clark Atlanta University, Morehouse College, and Spelman College --- united by the world’s oldest and largest association of historically black colleges and universities and a shared vision that innovation + art = change. The IFPDA has partnered with the AUC Art Collective to develop a professional internship program which launched in the summer of 2022 with a student from Spelman College who received an internship at BORCH Editions and Gallery in Berlin and Copenhagen.
2022:
Spelman College + BORCH Editions and Gallery, Copenhagen, DK
2023:
Spelman College + Paulson Fontaine Press, Berkeley, CA
Spelman College + Tandem Press, Madison, WI
2024:
Spelman College + L'-Atelier Galerie A. Piroir, Montreal, Canada
Clark Atlanta University + Paulson Fontaine Press, Berkeley, CA
Morehouse College + Knust Kunz Gallery Editions, Munich, Germany
2025:
Spelman College + Paulson Fontaine Press, Berkeley, CA
Spelman College + David Tunick, Inc., New York, NY
Clark Atlanta University + Two Palms Press, New York, NY
2026:
Clark Atlanta University + Jim Kempner Fine Art, New York, NY
Spelman College + David Tunick, Inc., New York, NY
Spelman College + Atelier Piroir, Quebec, Canada
Curatorial Internships
Recognizing the importance of early career exposure to prints and drawings, the IFPDA Foundation provides funding for curatorial internships in museum print and drawing collections. [NB: Internships may be offered in summer, spring, fall, or winter with the proviso that they must be completed within 12 months of the date of funding approval.]
Each year, the IFPDA Foundation funds curatorial internships in museum print collections. Host institutions are awarded funding based on their ability to provide an intern with object-based experience in the collection under the guidance of one or more experienced print specialists. More information can be found in the Guidelines.
2014
LIBRARY COMPANY OF PHILADELPHIA
Intern: Alison Van Denend
2014
UNIVERSITY OF IOWA MUSEUM OF ART
Intern: Alice Phillips, Ph.D.
2014
MUSEUM OF FINE ARTS, HOUSTON
Intern: Katie Applegarth
2014
RISD MUSEUM
Intern: Maggie C. North
2014
THE NEW YORK PUBLIC LIBRARY
Intern: Elisabeth C. Rivard
2014
ZIMMERLI ART MUSEUM
Intern: Sara B. Green
Richard Hamilton Acquisition Prize
Presented by ChampionScott
Through the generosity of ChampionScott Partners, the Richard Hamilton Acquisition Prize provides $10,000 for a museum’s acquisition of one or more prints from any period at the IFPDA Fair. In naming the prize, ChampionScott Partners honors the late Richard Hamilton as a tribute to the artist’s profound influence on their own appreciation of prints and to acknowledge his impact on generations of printmakers.
Applications for 2027 are now open.
Image: Richard Hamilton Picasso's Meninas, 1973 Hard-ground, soft-ground and stipple etching, open-bite and lift-ground aquatint, engraving, drypoint and burnishing on Rives paper. Courtesy of Cristea Roberts Gallery.
2026 Recipient: The Kupferstichkabinett (Museum of Prints and Drawings) of the Staatliche Museen zu Berlin
As the largest collection of graphic art in Germany and one of the leading institutions of its kind worldwide, the Kupferstichkabinett Berlin was founded in 1831 and is today part of the Staatliche Museen zu Berlin under the Foundation of Prussian Cultural Heritage. Within this institutional complex, it serves as a reference collection for works on paper and as a center of excellence for draftsmanship, printmaking, manuscript illumination. At the same time, it functions as an innovative site for exhibitions devoted to works on paper.
Curatorial Travel Grant Program
The IFPDA Foundation Curatorial Travel Grant Program provides funding ($2,000) for institutionally based print and drawings curators to attend the IFPDA Fair held in New York City. The dates for 2026 are April 9-12 at the Park Avenue Armory.
This event represents the largest annual convening of international print scholars, collectors, gallerists, artists, and curators as well as presenting a unique opportunity for in person viewing of works of art spanning the full 550+ years of printmaking.
Candidates are invited to complete an online application and attach a CV along with information about their institution’s print collection and plans for future acquisitions.
Recipients will be asked to submit documentary proof of travel (e.g. plane/train tickets, hotel receipts etc.) and a brief report within two months following their travels to New York.
2026
ART INSTITUTE OF CHICAGO
Chicago, IL
2026
NATIONAL GALLERY OF AUSTRALIA
Parkes, Australia
2026
PORTLAND ART MUSEUM
Portland, OR
2026
BRITISH MUSEUM
London, England
2026
VAN GOGH MUSEUM
Amsterdam, Netherlands
2025
STAATLICHES MUSEUM SCHWERIN
Schwerin, Germany
2025
ASHEVILLE ART MUSEUM
Asheville, NC
2025
THE COURTAULD
London, England
2024
TELFAIR MUSEUMS
Savannah, GA
2024
HAYWARD GALLERY TOURING
London, England
2026
WHITECHAPEL GALLERY
London, England
2026
J. PAUL GETTY MUSEUM
Los Angeles, LA
2026
ART GALLERY OF SOUTH AUSTRALIA
South Australia, Australia
2026
RACLIN MURPHY MUSEUM OF ART
Notre Dame, IN
2025
QUEENSLAND ART GALLERY
South Brisbane, Australia
2025
SAN ANTONIO MUSEUM OF ART
San Antonio, TX
2025
MUSEUM OF FINE ARTS LEIPZIG, GERMANY
Leipzig, Germany
2025
HAYWARD GALLERY, SOUTHBANK CENTRE
London, England
2024
MUSEUM LUDWIG
Cologne, Germany
2024
COLLEGE LA RENAISSANCE
Port-au-Prince, Haiti
2026
KUPFERSTICHKABINETT/STIFTUNG PREUßISCHER KULTURBESITZ
Berlin, Germany
2026
MUSEUM DER BILDENDEN KÜNSTE LEIPZIG
Leipzig, Germany
2026
BLANTON MUSEUM OF ART
Austin, TX
2026
STAATLICHES MUSEUM SCHWERIN
Schwerin, Germany
2025
WORCESTER ART MUSEUM
Worcester, MA
2025
CALIFORNIA AFRICAN AMERICAN MUSEUM
Los Angeles, CA
2025
WHITECHAPEL GALLERY
London, England
2025
KUNSTHAUS ZÜRICH
Zürich, Switzerland
2024
MUSÉE D'ART ET D'HISTOIRE DE GENÉVE
Geneva, Switzerland
2024
BLANTON MUSEUM OF ART
Austin, TX