Platemark: Recent Episodes
Ann Shafer
Platemark (series one) looks at the art sector with a focus on prints and printmaking. Series two offers a history of visual culture in the West through prints.
What happens when a visionary publisher collaborates with minimalist and conceptual giants like Chuck Close, Agnes Martin, and Dorothea Rockburne? In this episode, host Ann Shafer sits down with Rachel Vogel, Assistant Curator at the Addison Gallery of American Art, to explore the monumental legacy of Parasol Press. Rachel shares the behind-the-scenes stories of curating the exhibition Parasol Press: Breaking New Ground, diving into the innovative vision of founder Bob Feldman, the intricate technical synergy between artists and printers, and how this iconic press fundamentally revitalized the contemporary printmaking ecosystem.
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In this episode of Platemark, host Ann Shafer sits down with Marie Tennyson, Executive Director of the Lower East Side Printshop who shares her inspiring journey from starting at Universal Limited Art Editions (ULAE) at age 22 to championing one of New York City's most vital artistic hubs. Discover the rich history of the Lower East Side Printshop—born during a 1968 teachers' strike—and learn how it continues to provide affordable studio space, foster emerging talent, and invite artists of all backgrounds to experience the collaborative magic of printmaking. Tune in for an engaging conversation about community, artistic innovation, and keeping the printmaking tradition alive and accessible.
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https://printshop.org/
IG @printshoporg
In this episode of Platemark, we sit down with exceptional artist, printmaker, animator, and educator Jenny Schmid for a thought-provoking discussion on the intersections of history, art, and activism. We explore how historical figures like Käthe Kollwitz and José Posada influence Jenny's contemporary practice, delve into her fascinating project "Disembodied Reembodied," and celebrate the vital role of the Minnesota printmaking community in resisting oppressive systems. Jenny also shares a glimpse into her upcoming work examining midwifery, witch accusations, and women's labor history.
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https://jennyschmid.com/
https://storymaps.arcgis.com/collections/cf19f0b0a7414dceb28f1fcd0dbd1ac7
https://vimeo.com/1087246787?fl=pl&fe=sh
Please note: This episode contains sensitive discussions regarding the history of violence and racism in America, the murder of George Floyd, ICE, and the current socio-political landscape; listener discretion is advised.
Ever wonder about the incredible artistry hiding in your wallet? In this episode, Ann sits down with Tom Hipschen, a former master engraver at the Bureau of Engraving and Printing who spent nearly four decades crafting the very banknotes and postage stamps we handle every day. Tom takes us behind the scenes of his extraordinary career—from his grueling decade-long apprenticeship and serving as the lead picture engraver for the $20 bill, to engraving over 130 US postage stamps. We delve into the fascinating intersection of centuries-old hand engraving, cutting-edge anti-counterfeiting technology, and a poignant look at his legacy as he navigates life with essential tremor. Tune in for a conversation that will completely change how you look at the everyday prints right in your pocket.
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In this episode, host Ann Shafer sits down with Venezuelan-born artist and educator Reinaldo Gil Zambrano. Based in Spokane, Washington, Reinaldo is a relief printmaking specialist whose work explores themes of home, heritage, and the universal human experience. As an Assistant Professor at Gonzaga University and co-founder of the Spokane Print and Publishing Center, Reinaldo discusses his commitment to "democratic" art-making and his role as a bilingual bridge-builder in the global print community. From his early education at United World College to his recent solo museum debut, Reinaldo shares how storytelling and collaboration remain at the heart of everything he carves.
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🔗 Relevant Links
- Reinaldo's Artist Website: rgzprints.com
- Spokane Print and Publishing Center: spokaneprint.org
- "Pulling Roots" Exhibit at the Northwest Museum: Northwest Museum - Reinaldo Gil Zambrano
- Spokane Print Fest: spokaneprintfest.org
- United World Colleges (Costa Rica): uwccostarica.org
In this episode, host Ann Shafer sits down with Val Lucas, the artist and master printer behind Bowerbox Press. From her early shift from painting to printmaking at MICA to her current work casting custom metal type and ornaments, Val shares her journey through the tactile, meticulous world of letterpress. We dive into the technical evolution of the craft—balancing traditional handset type with modern polymer plates—and discuss the vibrant, tight-knit community of women preserving this historic art form. Join us for a deep dive into the patience, machinery, and artistry required to keep the "magic of the press" alive in a digital age.
IG: @bowerbox
www.bowerbox.com
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In s2e38, Ann and Tru continue their History-of-Prints conversation about Venice in the 18th century. This is part three of three in which we talk about father and son, Giovanni Battista Tiepolo and Giovanni Domenico Tiepolo. Shift your gaze from the canals to the clouds as we explore the whimsical, light-filled world of Giovanni Battista Tiepolo. A master of the Rococo, Tiepolo brought a sense of effortless spontaneity to his etchings, moving his needle with the fluidity of a pen. We break down his transition into the world of "Scherzi di Fantasia," where mythical scenes and fantastical themes come to life with remarkable finesse. Unlike the rigid reproductions of the past, Tiepolo's prints offer a personal narrative and a direct line to his wildest fantasies, proving why he remains one of the most enchanting storytellers in the history of art.
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What happens when you trade a job at Kinko's for a career as one of the art world's most provocative curators? In this episode, Ann sits down with the legendary Nato Thompson to explore how he navigates the complex intersections of community, culture, and the "art ecosystem." They dive into his latest mission—The Alternative Art School—where he is dismantling the myth of the solitary genius and building a global, accessible sanctuary for creatives. From the rise and fall of NFT hype to the deeply collaborative parallels between his work and the printmaking community, Nato shares why lean-in community support is the ultimate fuel for any artistic journey. Join them for an energizing look at how to find your calling by embracing the "crazy" and connecting with the collective.
IG: @NatoThompson, @thealternativeartschool
www.thealternativeartschool.com
In s2e37, Ann and Tru continue their History-of-Prints conversation about Venice in the 18th century. This is part two of three in which we talk about Canaletto. While often remembered as a topographical painter of postcards, Canaletto was, in fact, a master of curated reality. In this segment, they examine how Canaletto transformed the ordinary streets and canals of Venice into grand, cinematic scenes. Whether using the camera obscura to manipulate perspective or painting en plein air, he captured the "Venetian Vibe" with a meticulous yet lively brush. We take a deep dive into his Capricci—imaginative visions and cityscapes that felt more like Venice than the city itself—and discuss how his work became the ultimate souvenir for travelers seeking to bottle the spirit of the floating city.
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David Barthold's journey as a printmaker began at age 13, took him through the legendary studio of Atelier 17 in Paris, and eventually led to a hiatus that ended in a burst of lino-cut street art during the pandemic.
In this episode, we explore the life and work of a native New Yorker who refuses to stay in one lane. We dig into his early start learning under Ruth Leaf as a teenager and honing his craft at Oberlin and in France; printmaking as protest and how the pandemic pushed David out of the studio and onto the streets of Park Slope, using wheat-pasted portraits of figures like RBG and George Floyd to engage his community; David's transition from painting back to the "grease and gears" of the print studio, and why he finds spontaneity in such a technical medium; and building the ecosystem understanding the vital role of community, shared spaces, and the mentors who keep the print world spinning. David's work is a masterclass in how a centuries-old medium can strike at the heart of contemporary culture.
Follow David's street art and studio updates on Instagram: @DavidFBarthold
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Step into the sun-drenched world of 18th-century Venice as we explore the "theatrical splendor" that defined an era. In this episode, Ann and resident expert Tru Ludwig dive into the vibrant Venetian art scene, where the city itself served as both a stage and a muse. We set the scene by discussing the transition from the heavy Baroque style to the airy, spontaneous Rococo and the rise of the "Grand Tour." Discover why 18th-century Venice wasn't just a destination, but a living, breathing entity where reality and imagination blurred through the medium of etching, catering to a new generation of connoisseurs seeking the direct, autographic hand of the artist.
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What happens when a rare book library is also a working machine shop? This week, Ann sits down with the formidable Amelia Hugill-Fontanel, Associate Curator at the Cary Graphic Arts Collection at RIT. Amelia isn't just a keeper of history; she's a "press fixer" who maintains a fleet of functional 19th-century printing presses. We dive into the incredible legacy of Melbert B. Cary Jr., the intersection of historical type and 3D-printing innovation, and the inspiring rise of women in the traditionally "macho" world of iron hand presses. Whether you're a letterpress obsessive or a curious novice, Amelia's journey to curator and mechanic is a masterclass in keeping the history of the graphic arts alive and spinning. One print at a time.
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https://www.rit.edu/carycollection/ @ameliafont1 @ritcarycollection Cover image: Jiageng Lin
In this episode of Platemark, Ann sits down with Betty Winkler to explore her dual career as a master of carborundum collagraphy and a dedicated art therapist. They dive into her technical innovations—such as her preference for plexiglass plates—and discuss her book, which aims to demystify this tactile, non-toxic printmaking method. Betty shares how her background in the collaborative world of the print studio seamlessly informs her work in therapy, viewing both as powerful tools for communication and healing.
From the grit of the carborundum to the deep emotional layers of trauma therapy, Betty's journey is a testament to the idea that creativity is a fundamental human trait. Whether you are a seasoned printmaker or curious about the intersection of art and psychology, this interview offers a fascinating look at a life dedicated to the plate and the person.
www.bettywinkler.com
www.yamaprints.net
Find out more about EMDR therapy here: https://parnellemdr.com
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Get ready to leave the white-cube gallery behind. In our latest episode, we're stepping into the wild, mythic world of Dennis McNett (AKA Wolfbat). For over 30 years, Dennis has been carving out a career that defies every "standard" artistic path. Dennis doesn't just make art—he builds universes. He is a modern-day storyteller who reminds us that when you combine woodcuts with community and a bit of "Wolfbat" energy, art has the power to transform entire towns.
Wolfbat Studios
IG: @wolfbat
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In this episode, Ann sits down with Sangmi Yoo—artist, educator, and Professor of Printmaking at Texas Tech—to discuss how she navigates the "in-between." Her work isn't just about ink on paper; it's about how we build our identities out of architecture, memory, and the ghosts of colonial history.
www.sangmiyoo.com
IG: @sangmiyooliving
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What is the "secret sauce" that gives a print its soul? In this episode, Ann sits down with Professor Stephen Hoskins to decode the complex chemistry and 500-year history of printmaking inks. From Old Master soot to the cutting edge of 3D-printed textures, we're diving deep into the science, sustainability, and tactile future of our craft's most foundational element.
Stephen Hoskins's website: https://stephenhoskins.com/
University of the West of England: https://cfpr.uwe.ac.uk/
CFPR Editions: https://cfpreditions.uwe.ac.uk/
Top 10 Printing Museums in Europe: https://cfpr.uwe.ac.uk/cfpr-seminar-european-printing-museums-a-personal-top-ten-prof-stephen-hoskins-26-may-2020/
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Celebrating her 100th interview in the third series, Ann is in the hotseat and is being interviewed by her friend Stacy Kincaid. The discussion covers the podcast's origins, challenges, and key moments. Ann reflects on her diverse career and shares insights into the technical and creative aspects of podcasting, including her commitment to providing visual references for listeners. The conversation spans personal anecdotes, professional highlights, and future aspirations for the podcast and printmaking community.
"It's not just about the mechanics; it's about the way the colors breathe together on the metal." — Mark Elliott Johnson
In this episode of Platemark, host Ann Shafer talks with artist Mark Johnson who shares his extensive experiences working with Krishna Reddy, a master in simultaneous color printing (viscosity printing). The conversation reveals insights into Reddy's creative process, his philosophical approach to art and teaching, and the technical intricacies of his printmaking methods. The episode also touches on Johnson's own journey, the influence of Reddy's teachings on his career, and the continuing relevance of Reddy's techniques in contemporary printmaking. Don't miss Mark's stellar video on simultaneous color printing made for PCNY's spring 2025 exhibition of the work of Krishna Reddy curated by Sarah Burney.
https://www.markelliottjohnson.com
PCNY video link: https://www.youtube.com/watch?v=8cSgvqHjTO8
PCNY catalogue: https://issuu.com/ipcny/docs/web-krishna_reddy_publication
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Since 1915, the Society of American Graphic Artists (SAGA) has survived world wars, the Great Depression, and the digital revolution by doing one thing: keeping the press rolling. In this episode of Platemark, we're going behind the scenes of the cornerstone of American printmaking with three powerhouses who have steered the ship—Diego Briceno, DeAnn Prosia, and Esther Schwalb.
We dive into SAGA's gritty 110-year evolution, from its origins as a Brooklyn etching club to its current status as a national titan championing inclusivity and technical mastery. Discover the secrets behind their longevity, the "radical community" that supports artists for a $75 annual membership, and why this legacy is more vibrant today than ever before. Plus, don't miss the SAGA 90th Annual Exhibition, Ink and Impressions, on view at the Housatonic Museum of Art now through February 16, 2026.
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https://sagaprints.com/
SAGA members images through the years.
Welcome to Platemark, where we dive into the creative minds shaping the art world. This week, we connect with Chuck Webster, an exceptional artist whose deep and impulsive connection to drawing is both therapeutic and transformative. From publishing his own childhood sketches to constantly finding inspiration in sources ranging from Russian folk art to urban graffiti, Chuck's work is a fascinating dialogue between instinct and refinement. Join us as he opens up about his cathartic process, how content magically emerges from form, his love for experimenting with vintage materials, and how his passion for history and antiques informs his rich, multi-layered approach to drawing, painting, and printmaking. Get ready to be inspired to view art as Chuck does: an endlessly evolving and deeply personal adventure.
https://www.chuck-webster.com/
IG @chuckwebster
Planthouse Gallery
Wingate Studio
Jungle Press
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Ready to be globally inspired? On this episode of Platemark, Ann connects with the visionary Amé Bell, Director of David Krut Projects, who wears the hats of artist, historian, and curator. From the bustling print studios of Johannesburg, Amé brought South African voices to the world stage by curating the 2022 Venice Biennale Pavilion. They dive into the profound journey of collaborating with artists, how digital spaces are rewriting the rules of curating, and even get a peek at Amé's other passion: podcasting! Find out what it takes to make a moment in art history and the enriching impact of printmaking on artists' lives.
IG @_amebell_
https://davidkrutprojects.com/about
@davidkrutprojects
Chopped Liver podcast on Spotify
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In this episode of Platemark, Ann converses with Yashua Klos, a passionate artist finding new connections through collaborative printmaking. They discuss his unique woodblock collage technique, his journey of self-discovery, and the impact of reuniting with family. We talk about the nuances of his artistic process, the emotional resonance of his work, and the importance of representation in the art world. Don't miss this insightful conversation that intertwines personal growth, artistic expression, and the vibrant community of printmaking.
Cover image: Sean Pressley
Artist's IG: @yashuared
Artist's website: www.yashuaklos.net
Sikkema Malloy Jenkins Gallery: https://www.smjny.com/yashua-klos
Wingate Studio: https://wingatestudio.com/project/yashua-klos
Neiman Center: https://www.neiman.arts.columbia.edu/klos-yashua-1
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In this episode of Platemark, Ann talks with Yayoi Shionoiri, an arts lawyer and Vice President of External Affairs & General Counsel at Powerhouse Arts. Yayoi, who has over two decades of experience in art law, discusses her unique career path, from her initial interest in art history to working in law supporting artists and cultural workers. They talk about working together on the Brooklyn Fine Art Print Fair, the significance of transparency in art production, the evolving field of art law, and the intersections of technology and art, particularly generative AI. The conversation also highlights the collaborative and inclusive nature of the printmaking community, the impact of digital tools, and the fair's success in bringing together artists, students, and print enthusiasts.
Cover art by Phong Bui
@yayoi_shionoiri
In this episode of Platemark, Ann delves into the intricate world of prints and printmaking with master printer Robert Townsend. With over 55 years of experience, Bob shares his journey, techniques, and notable collaborations with artists like Peter Milton, Jim Dine, and Michael Mazur. They take a deep dive into plate wiping, steel facing, and other essential intaglio processes. Tune in to learn about the nuances of printing detailed etchings, and gain insights into the collaborative efforts that bring them to life.
https://retownsendstudio.com/
https://www.facebook.com/retownsendstudio/
IG @retownsendstudio
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In this History of Prints episode, Tru and Ann look at the considerable output of British satirist James Gillray (1756–1815). Younger than William Hogarth by nearly sixty years, Gillray took Hogarth's social commentary, its energy, and caustic approach, and used his skills to skewer politicians and kings, laugh at Napoleon and his empire building, point out the absurdity of the fear of vaccines, and make clear the debauchery of public executions. In fact, he's now called the father of the political cartoon. With scary parallels to current events, Gillray's acerbic eye nails it every time.
You can listen to Platemark or watch a video version. Links to all the possibilities are on the episode page at www.platemarkpodcast.com. While you're there, sign up for our newsletter-emails, which alert you to new episodes and occasional other stuff. And, do me a favor and leave us a review. It really helps people find the pod.
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In this episode of Platemark, Ann talks with Evan Summer, who shares his journey from studying chemistry to becoming a printmaker and educator. We talk about the technical aspects and challenges of collagraph, a lesser-known printmaking technique, discussing its potential and common pitfalls. Evan also offers some essential hot tips on the technique. Evan explains the intersection of science and art in printmaking, emphasizing safety and technical precision. We also explore his dark, apocalyptic-themed landscapes contrasted with his occasional, whimsical animal prints. We talk about his his influential teachers and his teaching career at Kutztown University, as well as his experiences with international artist residencies in places like Venice and China. The episode highlights the artistic and technical expertise required in printmaking, while Evan provides valuable insights and anecdotes from his extensive career.
USEFUL LINKS
www.evansummer.com
IG @evansummer
https://www.facebook.com/evan.summer/
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In this episode of Platemark, Ann talks with Sue Oehme, owner of Oehme Graphics in Steamboat Springs, Colorado. Sue shares her journey into printmaking, starting with her initial foray into lithography before discovering her love for etching. We talk about the unique process and intricate technique behind her renowned watercolor monotypes, including how different surfaces and types of paper influence the final artwork. We also talk about her collaborative approach and highlight her experience with artists at Oehme Graphics. Sue also touches on her previous significant work experience at Tyler Graphics, her own artistic practice, and the recent exhibition she curated at the Steamboat Art Museum.
USEFUL LINKS https://oehmegraphics.com/artists
https://www.facebook.com/oehmegraphics
https://www.instagram.com/oehmegraphics/
https://spacegallery.org/artist/sue-oehme/
https://www.jimkempnerfineart.com/susan-oehme
https://steamboatartmuseum.org/current-exhibit/
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In this episode of Platemark, Shraddha Ramani and William Villalongo discuss their monumental project Printing Black America: Du Bois’s Data Portraits in the 21st Century, which is being published in fall 2025. This modern update of W.E.B. Du Bois's data visualizations from 1900, which was created in response to the George Floyd protests, focuses on the lives of Black Americans today, incorporating contemporary data and research. The project includes 30 prints produced by six major printshops across the U.S., aiming to reflect the geographic and demographic shifts of Black populations since Du Bois's time. We talk about the project’s historical context, some of the challenges they’ve faced, their personal experiences, and the significance of printmaking in preserving cultural history. We also talk about its debut in an exhibition at the Print Center in New York and the broader implications of the project for future generations.
IG @wvillalongohttps://villalongostudio.com/ https://www.printcenternewyork.org/data-consciousness Project abstract
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In this episode of Platemark, Ann talks with artist and educator Nick Ruth to discuss his multifaceted approach to art. Nick, who lives in Rochester and teaches at Hobart and William Smith Colleges, shares insights into his work across various media, including painting, drawing, and printmaking. They talk about his creative process, particularly his use of monoprints as a space for experimentation and growth. They talk about his inspirations, such as the bizarre charm of cell towers and the intriguing backs of road signs, and how these elements serve as metaphors for human communication. They also discuss the evolution of his work over time and explore broader themes of art education, the impact of technology on human connection, and the artist's role in society.
Get in touch with Nick here:
https://www.nicholashruth.com/
IG @nicholashruth
FB https://www.facebook.com/nick.ruth.58
Listen to Nick on Hello, Print Friend (June 22, 2022) https://helloprintfriend.com/episode-145-nick-ruth
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In this episode of Platemark, Dr. Quahana Hendree, owner of Q Hendree Art Consulting in St. Louis, Missouri, shares her unique journey as an art consultant. Despite not being directly involved in the printmaking scene, Dr. Hendree brings a wealth of knowledge about art and its importance in various settings including corporate, commercial, and government spaces. She discusses the multifaceted role of an art consultant, detailing how she helps businesses curate collections that reflect their identity and values, manages existing collections, and advocates for the intrinsic value of art. The conversation also delves into her background as a theologian and how this intersects with her love for art. Dr. Hendree shares insights on the therapeutic and community-building power of art, the challenges of integrating art into corporate spaces, and the importance of preserving and appreciating art in both personal and professional contexts.
LINKS
https://qhendreeartconsulting.com/
IG @q_hendree_art_consulting
In Platemark's history of prints series, Ann Shafer and Tru Ludwig present a second installment of their ONE PRINT series, this time on Peter Milton's The Train from Munich, 1991. In this episode, Ann and Tru take a single work considered to be a high point in the history of prints, and pull it apart to explore its subject matter, technique, style, and composition. It's a deep, deep dive into a single work--what a luxury.
All images of Peter’s art are © 2025 Peter Milton / Artists Rights Society (ARS), New York.
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In this episode Ann talks with Margaret Morgan Grasselli and Elizabeth Savage about their new, massive book, Printing Colour 1700–1830: Histories, Techniques, Functions, and Receptions (Oxford: Oxford University Press and the British Academy, 2025). The book, coming in at nearly 450 pages with 350 illustrations, is a landmark study blowing open a new field of study in print history. It offers a deep dive into a rich period of invention, experimentation, and creativity surrounding color printing in Europe between two critically important developments: four-color separation printing around 1710, and chromolithography around 1830.
In their conversation, they talk about various aspects of color printing as it applies to both fine art and utilitarian goods like security printing for paper notes, advertisements, fashion, and household goods. They talk about the historical significance and technical details of color printing, the role of women in the field, and the socio-political influences of that era. And they talk about managing such a huge project and the importance of this work as a foundational study that opens up new avenues for future research.
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In this episode of Platemark, Ann speaks with Miranda Metcalf and Tim Pauszek about their new venture, Hello, Print Friend Studios in Chiang Mai, Thailand. Listeners will recall Miranda hosts our sister pod, Hello, Print Friend. In addition to the podcast, she also is producing documentaries about printmaking hotspots, beginning with Oaxaca and Puerto Rico (with more to come). Together, Miranda and master printer Tim have settled in Chiang Mai, Thailand, where they have founded a new printmaking studio. They talk about the challenges and joys of setting up a printmaking residency and studio in their adopted city while giving credit to their friend, artist Kitikong Tilokwattanotai and to the local community for supporting the new studio. They talk about the welcoming nature of the Thai people, the rich art and culture to be found in Chiang Mai (particularly among its 12 printmaking studios), and the unique opportunities for artists in their residency program. Miranda and Tim also expand on their future plans for the studio and invite artists and enthusiasts to join them in Chiang Mai.
Follow Miranda and Tim here:
helloprintfriend.com
@helloprintfriend
@mirandakielland
@timpauszek_studio
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In this episode of Platemark, Deb Puretz, an IT professional and artist, discusses her journey into the art world and navigating it as an outlier. Deb, originally from California and now based in South Carolina, shares her experiences of making connections, leveraging business skills, and adapting to new technologies in art. She talks about her early career in Hong Kong, the pivotal moments in her art practice, and working with semiconductors to create unique prints. Deb emphasizes the importance of connections, perseverance, and aiding fellow artists. She also touches on the evolving landscape of computer technology's impact on art. Throughout the discussion, Deb highlights key moments and influential people in her career while offering advice on maintaining motivation and seeking opportunities.
Get in touch with Deb here: www.purepuretz.com. Also, Jennifer Roberts’ talk about circuitry in prints is here: https://www.youtube.com/@yaleartgallery/videos.
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In this episode of Platemark, Ann talks with artist and teacher Jonathan Thomas who shares insights from his time at the Maryland Institute College of Art (MICA), the printmaking program he chairs, and his personal studio in Baltimore. We take a deep dive into his exploration of printing in plaster, detailing the technical process, historical context, and the challenges it presents compared to traditional intaglio printmaking. We talk about his shift from multi-plate color works to black and white, emphasizing the joy and struggle of achieving precise visual results. We talk about his thematic focus on narrative imagery, spirit companions, and the emotional nuances of life and death. We also talk about his educational approach, the critical role of experiential learning, and the impact of collaborative projects like those facilitated by MICA’s Dolphin Press. The conversation concludes with insights into the critique process in art education, emphasizing the balance between constructive feedback and understanding the student's sensitivity.
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In this episode of Platemark, Ann sits down with the legendary artist and printmaker Dan Welden. The artist is known for his pioneering work in solarplate etching, a revolutionary, chemical-free printmaking process. Welden recounts his experiences and collaborations with significant artists like Eric Fischl and Elaine and Willem de Kooning. He also delves into his personal creative struggles, preferences for classical music, and tales of his distinctive handmade house filled with artist tiles and unique craftsmanship. The episode is a compelling insight into Welden's artistic journey and contributions to the printmaking world.
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In this episode of Platemark, I talk with Ellen Heck about her artistic journey and work. We talk about the intricacies of printmaking techniques, Ellen's various portrait series, and the conceptual ideas behind her work. Ellen shares her journey from studying philosophy at Brown, to printmaking at the School of the Art Institute of Chicago, and finally working at the Kala Art Institute in Berkeley. They also explore topics like the influence of Mary Cassatt, the use of color wheels in organizing compositions, and Ellen's fascination with topology in her artwork. Our insightful conversation about the roles within the art ecosystem concludes with the philosophical underpinnings of Ellen's creative process.
Starting with this episode, the images are moving to a blog post (it's a long story). Link to the images is below.
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In this episode of the Platemark, I interview Mike Stark, the co-founder and owner of Stark Press Company. The New Jersey-based company, run by Mike and his brother Tom, builds new presses, services old presses, and aids in moving them. They often collaborate with Perry Tymeson, a legendary press repairman. Mike shares insights into designing new presses, managing a small business, and balancing creative work. We talk about studying print media at SAIC in Chicago and establishing Stark Press. We talk about his experiences in moving heavy presses, sometimes in challenging conditions, and the special bonds within the printmaking ecosystem.
www.starkpressco.com
@iammikestark
@pinklinepress
@starkpressco
Images for Mike Stark's episode are in the blog post you will find here:
SHOW ME THE IMAGES!
In this episode of Platemark, I talk with Mae Shore, a collaborative printer and owner of Shore Publishing in Tuxedo Park, New York. Mae shares her experiences working at Pace Editions with notable artists like Jim Dine and Chuck Close. She discusses the history and evolution of her gallery and print shop, which she established to merge her love for printmaking and curating exhibitions. Mae touches upon specific projects, such as her collaborations with artists like Amy Bennett, Kamrooz Aram, and Katia Santibañez and James Siena, detailing the unique processes and challenges in creating prints. The conversation also highlights the importance of print fairs, the nuances of printmaking, and Mae's backstory growing up in New York City's SOHO and Tribeca neighborhoods. Mae's reflections offer a compelling glimpse into the meticulous, collaborative, and often experimental world of printmaking.
Episode image: Greg Dohler
Images for Mae Shore's episode are in this blog post, as all images will be moving forward:
SHOW ME THE IMAGES!
In this episode of Platemark, I talk with Michael Verne, the owner of the Verne Collection in Cleveland, Ohio. Mike's gallery specializes in contemporary Japanese art and works by American artists residing in Japan. We talk about the challenges and rewards of running a small gallery amid larger competitors, and the importance of finding and promoting new artists. Mike shares insights about his journey in the art world, from his childhood surrounded by art to becoming a successful gallerist without a formal art education. He recounts various personal anecdotes, including his experiences at art fairs and his unorthodox methods for discovering and showcasing artists. Mike also highlights the significance of personal relationships and passion in his business. Listeners are encouraged to visit the Verne Collection and explore the fascinating world of contemporary Japanese art.
Daniel Kelly (American, born 1947). Crackpot, 2022. Woodblock print and gold leaf with chine collé. 64 x 88 cm. Courtesy of the Artist.
Sarah Brayer (American, born 1957). Luminous Moon. Aquatint and chine collé with phosphorescent pigment on indigo-dyed Mulberry paper. 24 x 33 in. The Verne Collection.
Yuko Kimura (Japanese, born 1968). Map of the World: Yochishiriyaku. Etching, monotype, thread, antique Japanese geography textbook pages (Yochishiriyaku) from the Meiji period. 8 ¾ x 6 3/4 in. The Verne Collection. Photo: Will Slabaugh.
Katsunori Haminishi (Japanese, born 1949). Canola Flowers Field, 2022. Mezzotint triptych. Sheet: 30 x 59 in.; image: 27 x 53 in. Verne Collection.
Joel Stewart (American, born 1959). Inside Out, 2003. Aquatint. Sheet: 42 ½ x 34 ½ in. Tolman Collection.
In this episode of Platemark, Myles Calvert, a printmaker and professor, shares his extensive journey from growing up in Ontario, Canada, to studying and working in the UK, and eventually returning to Alfred University in New York, to become director of the Institute of Electronic Arts. Myles discusses his experiences working at prestigious galleries in London, giving up a tenure-track position, and the pivotal moments that shaped his career. He delves into his role as the Director of IEA at Alfred, including the intricacies of managing residencies, the use of technology in printmaking, and the importance of community engagement. Myles also reflects on the challenges of academia, the value of traditional and new media in art, and his approach to student critiques. The conversation highlights Myles' passion for printmaking, his commitment to education, and his vision for the future of the IEA.
https://blog.alfred.edu/iea/
https://blog.alfred.edu/iea/2024/07/01/new-director-appointed-myles-calvert/
https://www.instagram.com/alfred_iea/
https://www.instagram.com/squirrelpigeonfish/
Myles Calvert at the China Exhibition AIPA, Xi’an Academy of Art.
Myles Calvert with IEA interns Veronica, Gigi, and Mary. Institute of Electronic Arts, Alfred University.
Jessica Reisch and Tyson Houseman check out Sandin new media equipment. Institute of Electronic Arts, Alfred University.
Visiting artist Kathryn Polk with students. Institute of Electronic Arts, Alfred University.
Rita MacDonald at the offset press with a laser-cut woodblock. Institute of Electronic Arts, Alfred University.
In this interview with the director and founder of Lily Press and the Printmaking Legacy Project, Susan Goldman shares her passion for printmaking and documentary film making. Susan discusses her journey from discovering printmaking at Indiana University, Bloomington, to founding Lily Press and creating impactful documentaries like Midwest Matrix. She highlights her educational experiences, mentors, and the vibrant printmaking community she's built over time. Goldman also delves into her personal work, her love for screenprinting, and the balance of managing a studio while collaborating with renowned artists like Sam Gilliam. Her current projects include documentaries on Lloyd Menard and Rochelle Toner and exploring the evolution and impact of digital printmaking. Susan's reflections on the importance of documenting printmaking history and incorporating community and teaching into her work provide a comprehensive view of her dedication to the art form.
Episode image: Erwin Thamm
Midwest Matrix film: https://www.midwestmatrix.info/index.html
Printmaking Legacy Project: https://printmakinglegacyproject.org/index.html
IG: lily_press_studio
IG: goldmansusan
Spread from Journal of the Print World on Midwest Matrix.
Rudy Pozzatti.
Tracey Templeton, Wendy Calman, and Susan Goldman at Indiana University, Bloomington.
John Whitesell. Circus, 1981. Three-color lithograph. 19 x 25 in. Published by Normal Editions.
Susan Goldman. Squaring the Flower II, #15. Screenprint. 30 x 30 in. Printed and published by Lily Press, Rockville, MD.
Installation shot of Susan Goldman’s Squaring the Flower, McLean Project for the Arts, McLean, VA.
Cory Oberndorfer inspects proofs of Six Frozen Treats (after Dine) at Lily Press, Rockville, MD.
Elizabeth Martin Brown working on a Sam Gilliam edition at Lily Press, Rockville, MD.
Renee Stout. The Secret Keeper, 2010. Etching. Plate: 7 x 5 in.; sheet: 15 x 11 in. Printed and published by Lily Press, Rockville, MD.
Renee Stout working at Lily Press, Rockville, MD.
Viktor Ekpuk. Hip Sista, 2027. Screenprint. 30 x 22 in. Printed and published by Lily Press, Rockville, MD.
Victor Ekpuk and Susan Goldman at Lily Press, Rockville, MD.
Susan Goldman and Sam Gilliam at Lily Press, Rockville, MD.
Dennis O’Neill in the shop at the Corcoran College of Art and Design, Washington, D.C.
Lily Press booth at the Baltimore Fine Art Print Fair, 2023.
Cory Oberndorfer. Six Frozen Treats (after Dine), 2023. Intaglio. Plate: 10 ¼ x 14 ½ in.; sheet: 21 x 15 in. Printed and published by Lily Press, Rockville, MD.
Eve Stockton. Woodland Skyscape. Woodcut with watercolor. Sheet: 36 x 36 in. Printed and published by Lily Press, Rockville, MD.
Eve Stockton working at Lily Press, Rockville, MD.
Percy B. Martin at Lily Press, Rockville, MD. Photo: Duane Winfield.
Lloyd Menard, founder of Frogman’s Print Workshops.
Rochelle Toner. Boost, 2009. Etching. 12 x 16. Courtesy of the Artist.
Rochelle Toner and Susan Goldman filming their interview.
Enrique Chagoya. Life at the Border of Language, 2023. Color lithograph. 21 ½ x 36 in. Published by Sharks Ink.
Garo Antreasian. Y’es Em, 1991. Four-color lithograph. Sheet: 30 1/8 x 26 ¼ in. Published by Tamarind Institute, University of New Mexico.
Leonard Lehrer. Powis, 1972. Lithograph. Sheet: 24 x 18 in. ArtworkArchive.com.
Sam Gilliam (American, 1933–2022). 3 PM School Bus, 2018. Screenprint. 18 ½ x 51 ½. Published by Lily Press, Rockville, MD.
Sam Gilliam (American, 1933–2022). 4 PM School Bus, 2018. Screenprint. 18 ½ x 51 ½. Printed and published by Lily Press, Rockville, MD.
Sangmi Yoo. Common Ground, 2025. Aluminum etching. 20 x 15 in. Courtesy of the Artist.
Keiko O’Hara at Lily Press, Rockville, MD.
In this episode, Ann talks with Bryan Raymundo, owner of the Black Fragment Press. They discuss their meeting at the Mid America Print Council conference and Bryan’s background, from growing up in Mexico and Kansas to his love for Black Sabbath and printmaking. Bryan reveals his journey into art, inspired by comforting his sick grandmother with drawings, and his challenges in balancing his family’s immigrant expectations with his artistic aspirations. They delve deeply into his evolving art practice, the importance of mentors like Marco Hernandez and Jason Scuilla, and his passion for printmaking. Bryan shares his pedagogical philosophy, experiences teaching at the University of Nebraska at Omaha, and future plans to establish a collaborative art studio. The episode encompasses Bryan’s personal anecdotes, his admiration for influential artists, and the profound impact printmaking has had on his life and career.
Episode image by Ann Shafer
www.bryanraymundo.com
IG @raymundo_printmaker
Bryan Raymundo (American, born 1993). Home Ain’t Home, 2024. Woodcut. 14 x 16 in. Courtesy of the Artist.
Bryan Raymundo (American, born 1993). The Hare that Met God, 2024. Woodcut. 14 x 16 in. Courtesy of the Artist.
Bryan Raymundo (American, born 1993). X Sin Nombre, 2023. Etching. 12 x 18 in. Courtesy of the Artist.
Bryan Raymundo (American, born 1993). My Manic and I, 2023. Etching. 12 x 18 in. Courtesy of the Artist.
Bryan Raymundo (American, born 1993). Only the Strong, 2023. Etching. 12 x 18 in. Courtesy of the Artist.
Bryan Raymundo (American, born 1993). Cold Heavens, 2023. Etching. 12 x 18 in. Courtesy of the Artist.
Bryan Raymundo (American, born 1993). Russian Roulette, 2021. Etching. 12 x 18 in. Courtesy of the Artist.
Bryan Raymundo (American, born 1993). Snuffed, 2017. Etching. 9 x 12 in. Courtesy of the Artist.
Bryan Raymundo (American, born 1993). Birds Calling, 2024. Woodcut. 22 x 30 in. Courtesy of the Artist.
Bryan Raymundo (American, born 1993). Beware of the Rhino Throne, 2024. Woodcut. 18 x 24 in. Courtesy of the Artist.
Bryan Raymundo (American, born 1993). Barking, 2022. Woodcut. 24 x 24 in. Courtesy of the Artist.
In this episode of Platemark, Ann sits down with Angelina Lippert, a poster historian and the curator and director of Poster House, to discuss the inception and growth of the first museum in the U.S. dedicated exclusively to the art and history of posters. They talk about what makes posters and fine art prints the same and different. And they discuss the challenges and processes of acquiring, preserving, and showcasing posters, the historical and cultural significance of early advertising posters, and the often-overlooked artistry involved in their creation.
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Poster House website https://posterhouse.org/
Poster House IG @posterhousenyc
Poster House façade on 23rd Street. Courtesy of Poster House.
Poster House’s lobby/café. Photo by Elizabeth Berger.
Max Beckmann (German, 1884–1950). Actors, 1941–42. Oil on canvas. Overall: 207.3 × 341.9 × 6.4 cm. (81 5/8 × 134 5/8 × 2 1/2 in.). Harvard Art Museums, Cambridge.
Henri de Toulouse Lautrec (French, 1864–1901). The Jockey, 1899. Lithograph. Sheet: 51.7 × 36.3 cm. (20 3/8 × 14 5/16 in.). National Gallery of Art, Washington, D.C.
Posters from Maîtres de l’Affiche, 1895–1900. Lithographs. Inter-Antiquariaat Mefferdt & De Jonge, Amsterdam.
Pierre Bonnard (French, 1867–1947). L’Estampe et l’affiche, 1897. Lithograph. Sheet: 32 11/16 × 24 3/16 in. (83 × 61.5 cm.). Metropolitan Museum of Art, New York.
Pierre Bonnard (French, 1867–1947). France-Champagne, 1891. Lithograph. Image 78 x 57.8 cm.; sheet 79.4 x 58.8 cm. National Gallery of Australia, Canberra.
Dawn Baillie (American, born 1964). Movie poster for The Silence of the Lambs, 1991. Lithograph. Poster House, New York.
Henri de Toulouse Lautrec (French, 1864–1901). Moulin Rouge: La Goulue, 1891. Lithograph. sheet: 74 13/16 x 45 7/8 in. (190 x 116.5 cm.). Metropolitan Museum of Art, New York.
A.M. Cassandre (French, born Ukraine, 1901–1968). Nord Express, 1927. Lithograph. 41 3/8 x 29 1/2 in. (105.09 x 74.93 cm.). Minneapolis Institute of Arts, Minneapolis.
Paula Scher (American, born 1948). The Diva is Dismissed, 1994. Lithograph. 46 x 30 1/8 in. (116.8 x 76.5 cm.). Museum of Modern Art, New York.
Dafi Kühne (Swiss, born 1982). Tunnel III, 2023. Letterpress and linocut. 70 x 100 cm. Typographic Posters.
Winston Tseng. Kamala, 2024. Lithograph. Courtesy of Winston Tseng’s IG account.
Nike. The Best on Earth/The Best on Mars, 1989. Lithograph. Courtesy of Poster House.
Boris Bućan (Croatian, born Yugoslavia, born 1947). Voltaire: Candide, 1983. Lithograph. Courtesy of Poster House.
Lester Beall (American, 1903–1969). Light/Rural Electrification Administration, 1937. Lithograph. Courtesy of Poster House.
In this episode of Platemark, Ann talks with Susan Dackerman, a curator and art historian specializing in Northern European print culture. They discuss Susan's recent book, Dürer's Knots: Early European Print and the Islamic East, which looks at the artist's relationship to the Islamic world, revealing groundbreaking insights about the intersection of early modern printmaking and contemporary history.
Susan's book covers three of Dürer's prints or print series. The first section looks at The Sea Monster (Das Meerwunder), c. 1498, and postulates that it chronicles the return to Venice of Caterina Cornado following her forced abdication as the last queen of Cyprus in 1489. Susan pieces together the narrative, which often claims to be about the abduction of a woman on the fins of Neptune.
The second section looks at a series of six woodcuts Dürer made to mimic the designs of silver inlay found in Mamluk brass bowls. Susan has an intriguing theory about the Knots's connection to a set of engravings by none other than Leonardo da Vinci.
The final section looks at the iron etching Landscape with a Cannon, 1518, and answers the question why make this image as an etching rather than an engraving.
The book challenges traditional narratives and recasts Dürer's prints that reference the Islamic East as much more nuanced and reflective of contemporaneous history. Susan's book is clear, concise, and thoughtful, and well worth the read.
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Susan's IG https://www.instagram.com/susanmdackerman/
Susan Dackerman. Dürer’s Knots: Early European Print and the Islamic East. Princeton, NJ: Princeton University Press, 2024. https://press.princeton.edu/books/hardcover/9780691250441/durers-knots?srsltid=AfmBOoo2o2yjJJeOlkdsXIURAOdx595jWpEKkUllE8jpzXRidPeYLEG8
Susan Dackerman. The Painted Print: The Revelation of Color. University Park, PA: Penn State University Press, 2002. https://www.psupress.org/books/titles/0-271-02234-5.html
Albrecht Dürer (German, 1471–1528). Sea Monster (Das Meerwunder), c. 1498. Engraving. Sheet (trimmed to platemark): 24.7 x 18.8 cm. (9 3/4 x 7 3/8 in.). National Gallery of Art, Washington, D.C.
Albrecht Dürer (German, 1471–1528). The First Knot (with a heart-shaped shield), probably 1506/1507. Woodcut. National Gallery of Art, Washington, D.C.
Albrecht Dürer (German, 1471–1528). The Third Knot (with a black circle on a white medallion), probably 1506/1507. Woodcut. National Gallery of Art, Washington, D.C.
Albrecht Dürer (German, 1471–1528). The Sixth Knot (combining seven small systems of knots with black centers), probably 1506/1507. Woodcut. National Gallery of Art, Washington, D.C.
Attributed to Leonardo da Vinci (Italian 1452–1519). The Fifth Knot (Interlaced Roundel with Seven Six-pointed Stars), c. 1498. Engraving. Plate: 10 3/8 × 7 13/16 in. (26.4 × 19.8 cm.). Metropolitan Museum of Art, New York.
Albrecht Dürer (German, 1471–1528). Landscape with the Cannon, 1518. Etching (iron). Sheet (trimmed to image): 21.9 × 32.2 cm. (8 5/8 × 12 11/16 in.). National Gallery of Art, Washington, D.C.
In this interview I talk with artist and activist Art Hazelwood about art as political action versus politics as a subject. We start with his journey as a printmaker in San Francisco in the early 90s, where he engaged in political art through the Street Sheet newspaper. He elaborates on the distinction between social commentary and political action, emphasizing his active role in various causes including homelessness and union support. We also talk about his work with the San Francisco Poster Syndicate and teaching drawing at San Quentin prison, highlighting the importance of art as a transformative tool within the prison system. Additionally, we talk about his involvement in Mission Gráfica, a print studio, and his efforts in cataloging artists' estates. The conversation touches on the evolving role of artists, the value of ephemeral art, and the challenges and opportunities within the art world today.
Episode image by James Hazelwood
https://www.arthazelwood.com/
https://www.arthazelwood.com/impresario/publications/mission-grafica-book.html
https://www.arthazelwood.com/impresario/publications/hobos-to-street-book.html
Bainbridge Island Museum of Art video on Tipping Point by Art Hazelwood https://www.youtube.com/watch?v=Yx7VNp6sBoo
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Art Hazelwood (American, born 1961). Strike!, 2023. Screenprint. 19 x 12 ¾ in. San Francisco State University California Faculty Association Strike poster. Courtesy of the Artist.
Installation shot of Hobos to Street People: Artists’ Responses to Homelessness from the New Deal to the Present. The California Historical Society, February 19–August 15, 2009.
Installation shot of Hobos to Street People: Artists’ Responses to Homelessness from the New Deal to the Present. The California Historical Society, February 19–August 15, 2009.
Installation shot of Hobos to Street People: Artists’ Responses to Homelessness from the New Deal to the Present. The California Historical Society, February 19–August 15, 2009.
Art Hazelwood (American, born 1961). Hobos to Street People: Artist’ Responses to Homelessness from the New Deal to the Present. San Francisco: California Historical Society, 2008.
Art Hazelwood (American, born 1961). Mission Gráfica: Reflecting a Community in Print. San Francisco: Pacific View PR, 2022.
Art Hazelwood (American, born 1961). Die Aktion #70, Grimmiger Jäger / Grim Hunter, 500,000, 2021. Screenprint. 16 3/4 x 11 in. Marking the grim milestone of 500,000 dead of Covid in the US. Courtesy of the Artist.
Art Hazelwood (American, born 1961). New Masses #64, Last Tango, January 6, 2020, 2021. Screenprint. 17 x 12 in. Marking the attempted coup on January 6, 2020. Courtesy of the Artist.
Art Hazelwood (American, born 1961). The Road to Fascism: It’s No Game, 2024. Screenprint. 17 1/2 x 21 ½ in. Courtesy of the Artist.
Art Hazelwood (American, born 1961). Iraqopoly, 2006. Screenprint. 20 1/2 x 28 1/2 in. Courtesy of the Artist.
Art Hazelwood (American, born 1961). Fascist Mix ’N Match, 2024. Screenprint. 9 x 10 ¾ in. Courtesy of the Artist.
Art Hazelwood (American, born 1961). Le Charivari #76, July 19, 2024, Candidat a la Presidentielle 2016–2024, 2024. Screenprint. 17 x 11 1/4. Courtesy of the Artist.
Art Hazelwood (American, born 1961). A Sea of Blood, 2022. Woodcut. 19 ¾ x 14 in. Courtesy of the Artist.
Art Hazelwood (American, born 1961). Culture Street / Gentrification Lane, 2016. Woodcut. Each panel: 36 x 24. Courtesy of the Artist.
Art Hazelwood (American, born 1961). Must We Always Have This? Why Not Housing?, 2023. Screenprint. 16 3/4 x 11 ½ in. Created for Western Regional Advocacy Project's director Paul Boden and his 40 years of activism. Text is from a WPA poster from New York 1930s. Courtesy of the Artist.
Art Hazelwood (American, born 1961). Tipping Point, 2021. Artist’s book with screenprints (binding and design by Asa Nakata). Overall: 12 x 9 x 1 3/8. Courtesy of the Artist.
Art Hazelwood (American, born 1961). Tipping Point, 2021. Artist’s book with screenprints (binding and design by Asa Nakata). Overall: 12 x 9 x 1 3/8. Courtesy of the Artist.
Art Hazelwood street printing with San Francisco Poster Syndicate, 2023. Photo courtesy of David Bacon.
Steamroller, six formerly incarcerated men and three of their teachers created a 3-foot square linocut print and printed it with a steamroller at Diablo Valley College, CA, in March 2024. Photo courtesy of Peter Merts.
Steamroller, six formerly incarcerated men and three of their teachers created a 3-foot square linocut print and printed it with a steamroller at Diablo Valley College, CA, in March 2024. Photo courtesy of Peter Merts.
Art Hazelwood (American, born 1961). Ayudantes Animales del Sudoeste: Un Guía Para Viajeros Jóvenes / Animal Helpers of the Southwest: A Guide For Young Travelers, 2015. Artist’s book with 12 woodcuts with screenprint borders and text. Sheet: 18 x 18 in. Courtesy of the Artist.
Art Hazelwood (American, born 1961). End Overdose Now, 2023. Screenprint. 18 1/2 x 11 1/8 in. Created for SF AIDS Foundation, HIV Advocacy Network and city budget fight. Courtesy of the Artist.
Art Hazelwood (American, born 1961). Support Our Libraries, 2023. Woodcut. 19 1/4 x 12 1/2. Courtesy of the Artist.
In this episode of Platemark, Jonathan Higgins discusses his journey as the owner and master printer of Manneken Press, established in 2000 in Bloomington, Illinois. We talk about his early life in Berkeley, California, his initial interest in art and ceramics, and his transition to printmaking. After exploring lithography and working for various artists and print workshops in New York, including at Galamander Press with Randy Hemminghaus, he eventually founded Manneken Press. Jonathan shares insights into the operational strategies, collaborative projects with artists, challenges with photogravure, and his approach to publishing and curating prints. He also touches on the impact of COVID-19 on his work processes and future projects, while emphasizing the importance of selecting artists whose work resonates with him. The interview concludes with a reflection on the evolution of Manneken Press and Jonathan's current focus and achievements.
Episode photo by: Matt Shrier
https://mannekenpress.com/
Blog: https://mannekenpress.com/news-the-manneken-press-blog/
Artsy: https://www.artsy.net/partner/manneken-press
Printed Editions: https://www.printed-editions.com/gallery/manneken-press/
IG: @mannekenpress
IG: jonathiggins
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Philip Van Keuren (American, born 1948). Snowstorm, 2016. Photogravure. 14 x 18 in. Published by Manneken Press. Courtesy of Manneken Press.
Philip Van Keuren (American, born 1948). Tulips, 2019. Photogravure. 18 x 14 in. Published by Manneken Press. Courtesy of Manneken Press.
Manneken Pis, Brussels, Belgium.
Manneken Pis, Brussels, Belgium.
Shrine to Manneken Pis at Manneken Press. Courtesy of Manneken Press.
Rupert Deese (American, born 1952). Array 1000/Dark Blue, 2011. Woodcut. 45 x 45. Published by Manneken Press. Courtesy of Manneken Press.
Ted Kincaid (American, born 1966). Nest 920, 2008. Etching. Plate: 20 x 16 in.; sheet: 25 x 21 in. Published by Manneken Press. Courtesy of Manneken Press.
Matt Magee (American, born France, 1961). (L–R) Bugs, Drugs, Plugs, 2021. Set of three aquatints. Each: 21 1/2 x 17 in. Published by Manneken Press. Courtesy of Manneken Press.
Matt Magee (American, born France, 1961). Lunar Lantern, 2024. Aquatint. 23 1/2 x 17 in. Published by Manneken Press. Courtesy of Manneken Press.
Matt Magee (American, born France, 1961). Mind Gap, 2024. Aquatint. 23 1/2 x 17 in. Published by Manneken Press. Courtesy of Manneken Press.
Matt Magee (American, born France, 1961). Winter Pool, 2024. Aquatint. 23 1/2 x 17 in. Published by Manneken Press. Courtesy of Manneken Press.
Preparing to print the plate for the watercolor monotype Foursquare Foresworn by Judy Ledgerwood (American, born 1959) at Manneken Press. Courtesy of Manneken Press.
Judy Ledgerwood (American, born 1959). Foursquare Foresworn, 2020. Watercolor monotype. 22 x 30 in. Published by Manneken Press. Courtesy of Manneken Press.
Judy Ledgerwood (American, born 1959). Detail of watercolor monotype Old Glory, right after printing. Published by Manneken Press. Courtesy of Manneken Press.
Judy Ledgerwood (American, born 1959). Old Glory, 2020. Watercolor monotype. 22 x 30 in. Published by Manneken Press. Courtesy of Manneken Press.
Judy Ledgerwood (American, born 1959). Inner Vision, 2020. Suite of 9 watercolor monotypes. Published by Manneken Press. Courtesy of Manneken Press.
Jill Moser (American, born 1956) working on the plates for Chroma Six in her Long Island City studio. Courtesy of Manneken Press.
Jill Moser (American, born 1956). Chroma Six, 2019. Suite of six color aquatints. Each: 23 1/2 x 20 in. Published by Manneken Press. Courtesy of Manneken Press.
Jason Karolak (American, born 1974) stopping out a copper plate with asphaltum at Manneken Press. Courtesy of Manneken Press.
Jason Karolak (American, born 1974). Detail of a plate with soap ground applied prior to etching at Manneken Press. Courtesy of Manneken Press.
Jason Karolak (American, born 1974) plates with soap ground applied prior to etching at Manneken Press. Courtesy of Manneken Press.
Jason Karolak (American, born 1974). The first plate of Prospect inked and ready to print at Manneken Press. Courtesy of Manneken Press.
Jason Karolak (American, born 1974). The second plate of Prospect inked and ready to print at Manneken Press. Courtesy of Manneken Press.
Jonathan Higgins pulling a color proof of Prospect, an etching by Jason Karolak (American, born 1974) at Manneken Press. Courtesy of Manneken Press.
Jonathan Higgins pulling a color proof of Prospect with all 10 colors, an etching by Jason Karolak (American, born 1974) at Manneken Press. Courtesy of Manneken Press.
Jason Karolak (American, born 1974). Working proof of Prospect, 2024. 2-plate aquatint. Plate: 21 x 18 in.; sheet: 26 1/2 x 23 in. Published by Manneken Press. Courtesy of Manneken Press.
In this episode of Platemark, I interview Art Werger, a renowned printmaker and retired professor from Ohio University. We discuss Art’s extensive experience and techniques in printmaking, focusing on his work in etching and mezzotint. Art shares his innovative approaches to color experimentation and his use of unique methods like double dropping, cut plates, and à la poupée inking. We also talk about Art’s artistic journey, his teaching experiences, working with litho crayon and white ground techniques, and his projects, including a series of circus-related prints and illustrations for 'The Godfather.' The episode concludes with Art offering to donate prints to educators reflecting his generous spirit and commitment to the printmaking community and highlighting the importance of supporting printmaking in an era dominated by digital techniques.
Episode photo by Karla Hackenmiller
https://artwerger.com/
IG @artwerger
https://www.etsy.com/market/art_werger
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Art Werger (American, born 1955). Still Pictures, from a 2020 Instagram post. 99 mezzotints with mouse bites. Courtesy of the Artist.
Art Werger (American, born 1955). Still Pictures, 2005. 99 mezzotints with mouse bites. 25 ½ x 25 ½ in. Courtesy of the Artist.
Art Werger (American, born 1955). Exposure, 2023. 1-plate color etching and aquatint, sugar lift, white ground, and softground etching, printed twice (warm and cool colors—double drop method). Courtesy of the Artist.
https://www.youtube.com/watch?v=V7P_Q9hqVuY&t=401s
Carding on cool colors on Exposure, 2023.
Carding on cool colors on Exposure, 2023.
Art Werger (American, born 1955). The Fool, 2024. 2-plate color etching. Courtesy of the Artist. https://www.instagram.com/reel/C3LqKuhRTnd/
Art Werger (American, born 1955). The Fool, 2024. 2-plate color etching (grid inked in warm colors for color tests). Courtesy of the Artist.
Art Werger (American, born 1955). The Fool, 2024. 2-plate color etching (grid inked in cool colors for color tests). Courtesy of the Artist.
Art Werger (American, born 1955). The Staggering Shambonys, 1981. Color etching and aquatint. Courtesy of the Artist.
Art Werger (American, born 1955). Don’t Invite the Ringlings to Dinner, 2024. Color etching. 22 x 17 in. Courtesy of the Artist.
Art Werger (American, born 1955). Binge and Purge from The Godfather, 2024. Mezzotint. 9 ½ x 6 ¼ in. Courtesy of the Artist.
Art Werger (American, born 1955). Circus, 2024. Color etching (6 cut plates). 18 x 22 in. Courtesy of the Artist.
A la poupée inking cut plate for Circus, 2024. Courtesy of the Artist.
Stencil inking cut plate for Circus, 2024. Courtesy of the Artist.
Art Werger (American, born 1955). Balance, 2024. Color etching. 20 x 13 in. Courtesy of the Artist.
Jonathan Beaumont Thomas (American, born 1973). Hibiscus, 2021/22. Color etching and aquatint. Courtesy of the Artist.
Art Werger (American, born 1955). Montauk drawings, 2023. Prismacolor pencils on black paper. Courtesy of the Artist.
Art Werger (American, born 1955). Nocturnal, 2024. Etching. 29 x 22 in. Courtesy of the Artist.
Art Werger (American, born 1955). McMansions, 2019. Aquatint. 18 x 16 in. Courtesy of the Artist.
Art Werger (American, born 1955). The Godfather, 2024. Portfolio of 16 mezzotints. Courtesy of the Artist.
In this episode Platemark, I talk with Leslie Diuguid, owner and founder of Do-Good Press in Bed-Stuy, Brooklyn. Leslie shares her journey as a screenprinter and discusses the intricacies of screenprinting, including processes, challenges, and the nuances of halftone and moiré patterns. We talk about how much math comes into the enterprise, especially about the relationship of mesh counts of screens and the frequency modulation of dot patterns. We explore Leslie's deep connection with her community, her unique approach to remembering names by sketching neighborhood visitors, and her experiences moving from a bedroom workshop to a storefront space. Leslie also details various projects, such as printing on glass, working with unique materials, and producing one-off prints in collaboration with artists like Selena Kimball and Rose Salane. We touch on the importance of sharing knowledge, community engagement, and the future of printmaking. This enriching conversation highlights Leslie's passion for her craft and her innovative contributions to the printmaking world.
https://du-goodpress.com/
IG @dugoodpress
IG @little_mouse_diuguid
Article in Bomb Magazine about Selena Kimball: https://bombmagazine.org/articles/2023/09/20/selena-kimball-interviewed/
Leslie's Omaha show: https://www.u-ca.org/exhibition/meet-me-at-the-fence-ok-bye
Nyssa Chow information: https://www.tellinghistories.com/trace
Du-Good Press published Simon Benjamin's Crown and Anchor, which was acquired by the Perez Art Museum: https://www.instagram.com/p/DDNPhswRslT/?utm_source=ig_web_copy_link&igsh=MzRlODBiNWFlZA%3D%3D
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Leslie Diuguid priming canvas with open mesh at Du-Good Press, Brooklyn, NY.
One-off set up for artist Simon Benjamin at Du-Good Press, Brooklyn, NY.
Shepard Fairey. Tribal Anniversary, 2024. Screenprint. 24 x 18 in. Signari Gallery, Temecula, CA.
Selena Kimball standing on screenprinting table getting ready to work with Andrea “Nina” Knoll in the background.
Selena Kimball inspecting work in progress.
Andrea “Nina” Knoll pouring ink as Selena Kimball holds the squeegee and prepares to print.
Selena Kimball with Leslie Diuguid pointing out details in Selena's work in progress.
Installation shot of Leslie Diuguid’s exhibition, Meet me at the fence ok bye. February 10–April 13, 2024. The Union for Contemporary Art, Omaha. Courtesy of the Artist.
Leslie Diuguid (American, born 1986). Eduardo, Chanel, and Jessica, 2024. Screenprints on canvas (12 x 12 in. each) installed in Leslie Diuguid’s exhibition, Meet me at the fence ok bye. February 10–April 13, 2024. The Union for Contemporary Art, Omaha. Courtesy of the Artist.
Installation shot of Leslie Diuguid’s exhibition, Meet me at the fence ok bye. February 10–April 13, 2024. The Union for Contemporary Art, Omaha. Courtesy of the Artist.
Leslie Diuguid (American, born 1986). 12,528, 2024. Screenprint on canvas. 30 x 40 in. Courtesy of the Artist.
Installation shot of Leslie Diuguid’s exhibition, Meet me at the fence ok bye. February 10–April 13, 2024. The Union for Contemporary Art, Omaha. Courtesy of the Artist.
Leslie Diuguid (American, born 1986). These Are Leslie’s Hands, 2024. Screenprint on canvas. 30 x 40 in. Courtesy of the Artist.
Leslie Diuguid (American, born 1986). Screamie, 2024. Screenprint. 30 x 40 in. Courtesy of the Artist.
Leslie Diuguid (American, born 1986). Emily, 2024. Screenprint. 30 x 40 in. Courtesy of the Artist.
Leslie Diuguid (American, born 1986). 942-0733, 2024. Screenprint. 30 x 40 in. Courtesy of the Artist.
Rose Salane. 64,000 Attempts at Circulation, 2022. Five screenprints, counterfeit metal coins, and steel tables. Overall: 106 13/16 × 232 × 131 in. Whitney Museum of American Art, New York.
Tiona Nekkia McClodden. Black Insanity on the Ledge of a Death Star, 2022. 2-color screenprint. 18 x 24 in. Printed by Du-Good Press; published by 52 Walker.
Alake Schilling (American, born 1993). Spotty Dotty Dog House, 2023. Color screenprint. 16 x 16 in. Published by Printed Matter; printed by Du-Good Press, Brooklyn. Printed Matter
Char Jeré. The Periodic Table of Black Revolutionaries, 2021. 10-color screenprint. 18 x 24 in. Printed and published by Du-Good Press, Brooklyn.
Kai Jenrette (American, born 2001). I’m Perfect Life’s Perfect I Love Being Me, 2024. 2-color screenprinted zine. Unfolded: 16 x 20 in. Printed and published by Du-Good Press, Brooklyn.
In this episode of Platemark, I interview Cole Rogers, a master printmaker who recently co-founded C&C Editions after his long tenure at Highpoint Center for Printmaking in Minneapolis. Cole talks about his journey into printmaking, his approach to the creative process, and the importance of experimental collaboration with artists. We talk about the mission-driven establishment of Highpoint Center, which he co-founded with Carla McGrath, and which aims to support all stages of an artist's career. We talk about the transition to C&C Editions and establishing a new shop and publishing program. We cover a range of topics from the technical aspects of printmaking to the broader art ecosystem, emphasizing the importance of creativity and exploration in the art world.
Episode photo by Joseph D.R. O’Leary
Mungo Thompson (American, born 1969). Pocket Universe (Copper) #16, 2016. Copper blind embossment. 24 x 20 in. Printed and published by Highpoint Center for Printmaking, Minneapolis.
Willie Cole (American, born 1955). Five Beauties, 2012. Five intaglio and relief prints. Each: 63 ½ x 22 ½ in. Printed and published by Highpoint Center for Printmaking, Minneapolis.
Julie Mehretu (American, born Ethiopia, 1970). Entropia: Construction, 2005. Lithograph with Gampi chine collé. Image: 29 ½ x 39 ½ in.; sheet: 40 x 49 ½ in. Printed and published by Highpoint Center for Printmaking, Minneapolis.
Mungo Thompson (American, born 1969). Between Projects, 2011. Handmade pencils. Site-specific installation at Walker Art Center, Minneapolis.
Mungo Thompson (American, born 1969). Coat Check Chimes, 2008. Nickel-plated aluminum and steel, 1200 pieces. Site-specific installation at the 2008 Whitney Biennial, New York. Photo: Joanne Kim.
James Turrell (American, born 1943). Dividing the Light, 2007. Granite and steel. Pomona College, Claremont, CA.
Studio shot, C&C Editions, Minneapolis.
USEFUL LINKS
www.candceditions.com
IG @candceditions
IG @cole.rogers.5836
FB https://www.facebook.com/candceditions
In this History of Prints (HoP) episode, Tru and I finish talking about the life and work of William Hogarth, the father of Western sequential art. We look at and pick apart three series: Industry and Idleness, The Four Stages of Cruelty, and Humours of an Election. Timely, no? Hogarth continues to point out society’s faults and baser instincts. He never stopped trying to teach the masses about comportment and judgment.
Episode image: William Hogarth (British, 1697–1764). Gin Lane, 1751. Etching and engraving. Sheet: 15 1/16 x 12 1/2 in. (38.3 x 31.7 cm.). Metropolitan Museum of Art, New York.
Useful Links
Harlot’s Progress video from Paul Mellon Centre for Studies in British Art. https://youtu.be/VPQze0EbpdQ
Harlot’s Progress video from Reading the Past. https://youtu.be/u1rtBD0qvPY?si=DkVatOJ5-vEyrIqF
Beer Street and Gin Lane from Reading the Past. https://youtu.be/A3-Je-lSKrE?si=C9igJSDSvYVyRabY
After Allan Ramsay (British, 1713–1784). Portrait of William Hunter, 1760. Engraving. Wellcome Collection.
Jean-Baptiste-Siméon Chardin (French, 1699–1779). Saying Grace, c. 1740. Oil on canvas. 49.5 x 38.5 cm. (19 ½ x 15 ¼ in.). Musée du Louvre. Paris.
Jean-Baptiste Greuze (French, 1725–1805). The Village Bride, 1761. Oil on canvas. 92 x 117 cm. (36 x 46 in.). Musée du Louvre. Paris.
Inigo Jones (British, 1573–1652). Banqueting House, 1622. London.
William Hogarth (British, 1697–1764). The South Sea Scheme, 1722. Etching and engraving. Sheet: 10 ¼ x 12 15/16 in. (26.1 x 32.8 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). A Harlot’s Progress, 1732 or before. Series of 6 etchings with engraving. Sheet (each): 12 5/16 x 15 1/8 in. (31.3 x 38.4 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). A Rake’s Progress, 1735. Series of 8 paintings. Sir John Soane’s Museum, London.
William Hogarth (British, 1697–1764). A Rake’s Progress, 1735. Series of 8 etchings with engraving. Sheet (each): 13 7/8 x 15 7/8 in. (35.2 x 40.4 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). Marriage A-la-Mode, c. 1743. Series of 6 paintings. Each: 66.9 x 90.8 cm. The National Gallery, London.
After William Hogarth (British, 1697–1764). Marriage A-la-Mode, 1745. Series of 6 etchings with engraving. Plate (each): 15 1/4 x 18 1/2 in. (38.7 x 47 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). Mr. Garrick in the Character of Richard III, 1746. Etching and engraving. Sheet: 16 3/8 x 20 1/2 in. (41.6 x 52 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). The Analysis of Beauty, written with a view to fixing the fluctuating ideas of taste. London: J. Reeves, 1743. S curves from The Analysis of Beauty, written with a view to fixing the fluctuating ideas of taste. London: J. Reeves, 1743.
William Hogarth (British, 1697–1764). Plate I from The Analysis of Beauty, written with a view to fixing the fluctuating ideas of taste. London: J. Reeves, 1743.
William Hogarth (British, 1697–1764). Plate II from The Analysis of Beauty, written with a view to fixing the fluctuating ideas of taste. London: J. Reeves, 1743.
William Hogarth (British, 1697–1764). The Fellow ‘Prentices at their Looms, plate 1 from the series Industry and Idleness, 1747. Etching and engraving. Plate: 10 3/8 x 13 7/16 in. (26.4 x 34.2 cm.); sheet: 10 5/8 x 14 in. (27 x 35.5 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). The Industrious ‘Prentice Performing the Duty of a Christian, plate 2 from the series Industry and Idleness, 1747. Etching and engraving. Sheet: 10 3/8 x 13 3/4 in. (26.4 x 34.9 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). The Idle ‘Prentices at Play in the Churchyard, plate 3 from the series Industry and Idleness, 1747. Etching and engraving. Sheet: 10 1/4 x 13 9/16 in. (26 x 34.5 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). The Industrious ‘Prentice a Favourite and Entrusted by his Master, plate 4 from the series Industry and Idleness, 1747. Etching and engraving. Plate: 10 3/8 x 13 1/2 in. (26.3 x 34.3 cm.); sheet: 10 11/16 x 13 7/8 in. (27.1 x 35.2 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). The Idle ‘Prentice Turned Away and Sent to Sea, plate 5 from the series Industry and Idleness, 1747. Etching and engraving. Sheet: 10 3/8 x 13 11/16 in. (26.4 x 34.8 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). The Industrious ‘Prentice Out of his Time and Married to his Master’s Daughter, plate 6 from the series Industry and Idleness, 1747. Etching and engraving. Plate: 10 3/8 x 13 9/16 in. (26.4 x 34.4 cm.); sheet: 10 9/16 x 13 7/8 in. (26.8 x 35.2 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). The Idle ‘Prentice Returned from Sea and in a Garret with a Common Prostitute, plate 7 from the series Industry and Idleness, 1747. Etching and engraving. Sheet: 10 5/16 x 13 5/8 in. (26.2 x 34.6 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). The Industrious ‘Prentice Grown Rich and Sheriff of London, plate 8 from the series Industry and Idleness, 1747. Etching and engraving. Plate: 10 1/4 x 13 1/2 in. (26 x 34.3 cm.); sheet: 10 3/8 x 13 3/4 in. (26.3 x 35 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). The Idle ‘Prentice Betrayed by his Whore and Taken in a Night Cellar with his Accomplices, plate 9 from the series Industry and Idleness, 1747. Etching and engraving. Plate: 10 5/16 x 13 9/16 in. (26.2 x 34.4 cm.); sheet: 10 9/16 x 13 3/4 in. (26.9 x 35 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). The Industrious ‘Prentice Alderman of London, The Idle One Brought Before Him and Impeached by his Accomplices, plate 10 from the series Industry and Idleness, 1747. Etching and engraving. Sheet: 10 3/16 x 13 11/16 in. (25.8 x 34.8 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). The Idle ‘Prentice Executed at Tyburn, plate 11 from the series Industry and Idleness, 1747. Etching and engraving. Sheet: 10 3/8 x 15 3/4 in. (26.4 x 40 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). The Industrious ‘Prentice Lord Mayor of London, plate 12 from the series Industry and Idleness, 1747. Etching and engraving. Sheet: 10 9/16 x 15 13/16 in. (26.9 x 40.2 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). Gin Lane, 1751. Etching and engraving. Sheet: 15 1/16 x 12 1/2 in. (38.3 x 31.7 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). Beer Street, 1751. Engraving. Sheet: 15 1/8 x 12 11/16 in. (38.4 x 32.2 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). The First Stage of Cruelty, 1751. Etching and engraving. Sheet: 14 3/4 x 12 1/2 in. (37.5 x 31.7 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). The Second Stage of Cruelty, 1751. Etching and engraving. Plate: 15 1/4 x 12 9/16 in. (38.8 x 31.9 cm.); sheet: 16 1/16 x 13 1/4 in. (40.8 x 33.7 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). Cruelty in Perfection, 1751. Etching and engraving. Plate: 15 1/4 x 12 11/16 in. (38.8 x 32.2 cm.); sheet: 15 13/16 x 13 3/16 in. (40.2 x 33.5 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). The Reward of Cruelty, 1751. Etching and engraving. Plate: 15 1/4 x 12 5/8 in. (38.8 x 32 cm.); sheet: 15 3/4 x 13 1/16 in. (40 x 33.2 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). The Humours of an Election I: An Election Entertainment, 1754–55. Oil on canvas. 101 x 128 cm. Sir John Soane’s Museum, London.
William Hogarth (British, 1697–1764). The Humours of an Election II: Canvassing for Votes, 1754–55. Oil on canvas. 102.3 x 131.4 cm. Sir John Soane’s Museum, London.
William Hogarth (British, 1697–1764). The Humours of an Election III: The Polling, 1754–55. Oil on canvas. 102.2 x 131.1 cm. Sir John Soane’s Museum, London.
William Hogarth (British, 1697–1764). The Humours of an Election IV: Chairing the Member, 1754–55. Oil on canvas. 103 x 131.8 cm. Sir John Soane’s Museum, London.
William Hogarth (British, 1697–1764). The Humours of an Election I: An Election Entertainment, 1755. Engraving. 40.5 x 54 cm. Royal Academy of Arts, London.
William Hogarth (British, 1697–1764). The Humours of an Election II: Canvassing for Votes, 1755. Engraving. 40.5 x 54 cm. Royal Academy of Arts, London.
William Hogarth (British, 1697–1764). The Humours of an Election III: The Polling, 1755. Engraving. 40.5 x 54 cm. Royal Academy of Arts, London.
William Hogarth (British, 1697–1764). The Humours of an Election IV: Chairing the Member, 1755. Engraving. 40.5 x 54 cm. Royal Academy of Arts, London.
George Caleb Bingham (American, 1811–1879). The Verdict of the People, 1854–55. Oil on canvas. 46 x 55 in. (116.8 x 139.7 cm.). Saint Louis Art Museum, St. Louis.
George Caleb Bingham (American, 1811–1879). Stump Speaking, 1853–54. Oil on canvas. 42 1/2 x 58 in. (108 x 147.3 cm.). Saint Louis Art Museum, St. Louis.
George Caleb Bingham (American, 1811–1879). The County Election, 1852. Oil on canvas. 38 x 52 in. (96.5 x 132.1 cm.). Saint Louis Art Museum, St. Louis.
William Hogarth (British, 1697–1764). Tailpiece, or the Bathos, 1764. Engraving. 261 x 323 mm. Royal Academy of Arts, London.
In this episode of Platemark, I talk with Judith Solodkin, a renowned master printer and founder of SOLO Impression. Judith shares her extensive experience, from being the first woman to graduate from the Tamarind Master Printer program to her unique work in digital embroidery. She reflects on her collaborations with notable artists like Louise Bourgeois and Sonya Clark, and her teaching role at various art institutions. We talk bout Judith’s passion for wearable art, specifically her creation of one-of-a-kind hats. Additionally, we discuss the technical and collaborative aspects of printmaking and embroidery, as well as the importance of documenting and preserving artistic processes and works.
Cover image: Grace Graupe-Pillard
USEFUL LINKS
https://www.millinersguild.org/
https://www.soloimpression.com/
@judithsolodkin
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June Wayne. Near Miss, 1996. Lithograph. 26 x 32 ½ in. Printed and published by SOLO Impression, Bronx.
Joyce Kozloff. Now, Voyager I, 2007. Color lithograph with glitter. 31 ½ x 31 ½ in. Printed and published by SOLO Impression, Bronx.
James Rosenquist (American, 1933–2017). Paper Clip, 1974. Ten-color lithograph. 36 ½ x 69 in. (92.7 x 175.3 cm.). Published and printed by Petersburg Press.
Nancy Spero (American, 1926–2009). Torture in Chile, from the A. I. R. Print Portfolio, 1975. Lithograph. Sheet and image: 22 1⁄4 x 30 in. (56.5 x 76.2 cm.). Smithsonian American Art Museum, Washington, D.C.
Dotty Attie. The Forbidden Room, 1998. Lithograph. Sheet: 18 x 24 in. Printed and published by SOLO Impression, Bronx.
Howardena Pindell. Peters Squares Waterfall Johnson Vermont, 1986. Color woodcut with collage on various Asian papers. 26 1/2 x 36 in. Printed and published by SOLO Impression, Bronx.
Lois Dodd. Mirror, 1975. Stone lithograph. 15 x 18 in. Printed and published by SOLO Impression, Bronx.
Alice Neel. Portrait of Judith Solodkin, 1978. Lithograph. 30 x 22 in. Printed and published by SOLO Impression, Bronx.
Philip Pearlstein (American, 1924–2022). Iron Bed and Plastic Chair, 1999. Oil on canvas. 59 ½ x 39 1/2 in.
Judith Solodkin hats at Winterthur Museum, Garden & Library, Winterthur, DE.
Judith Solodkin in one of her own creations.
Louise Bourgeois (American, born France, 1911–2010). The Song of the Blacks and the Blues, 1996. Lithograph and woodcut with hand additions. Sheet: 21 ¾ x 96 in (55.3 x 243.8 cm.). Printed and published by SOLO Impression. Museum of Modern Art, NY.
Louise Bourgeois (American, born France, 1911–2010). Ode à l'Oubli, 2004. Fabric illustrated book with 35 compositions: 30 fabric collages and 5 lithographs (including cover). Overall: 10 5/8 x 13 3/8 x 3 3/16 in. (27 x 34 x 8.2 cm.). Printed by SOLO Impression, published by Peter Blum Edition. Museum of Modern Art, NY.
Elaine Reichek (American, born 1943). Collections for Collectors: 2006 Spring, 2006. Portfolio of 17 digital embroideries on linen. Each: 15 ½ x 12 ½ in. (39.4 x 31.8 cm.). Printed and published by SOLO Impression.
Ghada Amer and Reza Farkondeh. The Perfumed Garden, 2006. Lithograph with digitized sewing. 20 ½ x 24 in. Printed and published by SOLO Impression, Bronx.
Allan McCollum. The Shapes Project: Threaded Shapes Coll No.21–2883, 2005/2009–10. 144 framed ovals with digitized embroidered shapes on cotton fabric (each shape is unique). Each frame: 11 1/4 x 9 1/4 in. Fabricated by Judith Solodkin, Theodore Yemc, and Rodney Doyle; published by SOLO Impression, Bronx.
Kent Henricksen (American, born 1974). White Ghost, Black Ghost, 2012. Two digital embroideries. Each: 8 ½ x 5 in. (21.6 x 12.7 cm.). Printed and published by SOLO Impression.
Sonya Clark. The Huest Eye, 2023–24. Embroidered thread on Rives BFK paper. 36 x 24 in. Printed by SOLO Impression, Bronx; published by Goya Contemporary/Goya-Girl Press, Baltimore.
Liliana Porter. Red Girl, 2006. Digital embroidery and thread on paper. 22 x 17 ½ in. Printed and published by SOLO Impression, Bronx.
Howard Hodgkin (British, 1932–2017). Moonlight, 1980. Lithograph on two sheets. 44 x 55 ¼ in. (111.8 x 140.3 cm). Printed by SOLO Impression, published by Bernard Jacobson Ltd. National Gallery of Australia, Canberra.
Michael Mazur. Wakeby Night, 1986. Lithograph with chine collé, woodcut, and monoprint. 66 x 30 in. Printed and published by SOLO Impression, Bronx.
Françoise Gilot (French, 1921–2023). Music in Senegal, 2017. Color lithograph. 18 x 24 in. Printed and published by SOLO Impression.
Robert Kushner (American, born 1949). Nocturne, 1988. Color lithograph. 25 x 37 in. Printed and published by SOLO Impression.
Joe Zucker (American, born 1941–2024). The Awful Heat Wastes Man and Beast No. 4, 1985. Lithograph, silver foil, and varnish. 36 x 48 in. Printed and published by SOLO Impression.
Christian Marclay. Untitled, 1991. Unique surface print. 39 x 39 in. Printed and published by SOLO Impression, Bronx.
John Hejduk. The Flight, from the series Zenobia, 1990. Lithograph. 25 x 17 in. Printed and published by SOLO Impression, Bronx.
John Torreano. Emerald, from the series Oxygems, 1989. Color woodcut with embossing. 30 x 36 in. Printed and published by SOLO Impression, Bronx.
Judy Chicago (American, born 1939). What if Women Ruled The World?, 2022. Inket print on fabric with digital embroidery. 33 1/2 × 24 in. (85.1 × 61 cm.). Printed and published by SOLO Impression.
Betye Saar. Blow Top Blues, The Fire Next Time, 1998. Color lithograph, hand coloring, photo electric collage. 27 x 22½ in. Printed and published by SOLO Impression, Bronx.
Beryl Korot. Weaver’s Notation – Variation 1,2013. Embroidery and inkjet print. 21 ¼ x 21 ¼ in. Printed and published by SOLO Impression, Bronx.
Artist Ivan Forde in his photo-sensitive paper jacket and Powerhouse Arts Printshop director Luther Davis at IFPDA Print Fair, October 2023.
Louise Bourgeois (American, born France, 1911–2010). Henriette,1998. Lithograph and digital print. Sheet: 45½ x 31½ in. Printed and published by SOLO Impression. Museum of Modern Art, NY.
In this History of Western Prints (HoP) episode, Tru and I begin to explore the life and work of William Hogarth, the first British artist featured on Platemark’s HoP series. Hogarth, renowned as the father of Western sequential art, is discussed through detailed analyses of three of his best known series: A Harlot's Progress, A Rake's Progress, and Marriage A-la-Mode. The episode delves into 18th-century London's morality, capturing the societal and artistic context of Hogarth's work. Highlights include discussions on the intricacies of Hogarth's prints, his depiction of social issues, the impact of his work on English law (copyright laws finally established!), and his mixed successes in various art forms. This first of two episodes on Hogarth sets the stage for part two when we look at his images around elections in Enlightenment England.
Harlot’s Progress video from Paul Mellon Centre for Studies in British Art. https://youtu.be/VPQze0EbpdQ
Harlot’s Progress video from Reading the Past. https://youtu.be/u1rtBD0qvPY?si=DkVatOJ5-vEyrIqF
Beer Street and Gin Lane video from Reading the Past. https://youtu.be/A3-Je-lSKrE?si=C9igJSDSvYVyRabY
Platemark website
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After Anton von Maron (Austrian, 1733–1808). Johann Winkelmann, after 1768. Engraving.
After Allan Ramsay (British, 1713–1784). Portrait of William Hunter, 1760. Engraving. Wellcome Collection.
William Hogarth (British, 1697–1764). The Painter and his Pug, 1745. Oil on canvas. 35.4 x 27.5 cm. Tate Britain, London.
Jean-Baptiste-Siméon Chardin (French, 1699–1779). Saying Grace, c. 1740. Oil on canvas. 49.5 × 38.5 cm. (19.5 in × 15.2 in.). Louvre, Paris.
Jean-Baptiste Greuze (French, 1725–1805). The Village Bride, 1761. Oil on canvas. 92 x 117 cm. Louvre, Paris.
The Banqueting House, London.
Saint Paul’s Church, London.
William Hogarth (British, 1697–1764). Self-Portrait, c. 1735. Oil on canvas. 21 1/2 x 20 in. (54.6 x 50.8 cm.). Yale Center for British Art, New Haven.
William Hogarth (British, 1697–1764). An Emblematic Print on the South Sea, late 18th century. Engraving and Etching. Plate: 10 13/16 x 13 3/8 in. (27.4 x 33.9 cm.); sheet: 11 5/16 x 14 in. (28.7 x 35.6 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). A Harlot’s Progress, Plate 1, 1732 or before. Etching and engraving. Sheet: 12 5/16 x 15 1/8 in. (31.3 x 38.4 cm.). Metropolitan Museum of Art, New York.
Chart identifying elements in Harlot’s Progress Plate 1.
William Hogarth (British, 1697–1764). A Harlot’s Progress, Plate 2, 1732 or before. Etching and engraving. Sheet: 12 3/8 x 14 13/16 in. (31.4 x 37.7 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). A Harlot’s Progress, Plate 3, 1732 or before. Etching and engraving. Sheet: 12 11/16 x 15 3/8 in. (32.2 x 39 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). A Harlot’s Progress, Plate 4, 1732 or before. Etching and engraving. Sheet: 13 1/8 x 15 3/16 in. (33.3 x 40.4 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). A Harlot’s Progress, Plate 5, 1732 or before. Etching and engraving. Sheet: 13 3/8 x 16 3/16 in. (34 x 41.1 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). A Harlot’s Progress, Plate 6, 1732 or before. Etching and engraving. Sheet: 12 1/2 x 15 3/16 in. (31.7 x 38.6 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). A Rake’s Progress, Plate 1, 1735. Etching and engraving. Sheet: 15 13/16 x 19 1/16 in. (40.2 x 48.4 cm.). Metropolitan Museum of Art, New York.
Gérard Jean-Baptiste Scotin (French, Paris 1698–after 1755), after William Hogarth (British, 1697–1764). A Rake’s Progress, Plate 2, 1735. Etching and engraving. Sheet: 14 3/16 x 16 1/4 in. (36 x 41.3 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). A Rake’s Progress, Plate 3, 1735. Etching and engraving. Sheet: 13 7/8 x 15 7/8 in. (35.2 x 40.4 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). A Rake’s Progress, Plate 4, 1735. Etching and engraving. Sheet: 14 3/16 x 16 1/4 in. (36.1 x 41.3 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). A Rake’s Progress, Plate 5, 1735. Etching and engraving. Sheet: 15 5/8 x 18 13/16 in. (39.7 x 47.8 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). A Rake’s Progress, Plate 6, 1735. Etching and engraving. Sheet: 14 x 16 in. (35.5 x 40.7 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). A Rake’s Progress, Plate 7, 1735. Etching and engraving. Sheet: 15 5/8 x 18 3/4 in. (39.7 x 47.7 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). A Rake’s Progress, Plate 8, 1735. Etching and engraving. Sheet: 15 9/16 x 18 13/16 in. (39.6 x 47.8 cm). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). A Rake’s Progress, 1735. Eight oil on canvas paintings. Sir John Soane’s Museum, London.
Louis-François Roubiliac (French, 1702–1762). William Hogarth, c. 1741. Terracotta bust. Overall: 28 1/2 x 17 3/4 in. (72.4 x 45.2 cm.). National Portrait Gallery, London.
William Hogarth (British, 1697–1764). Marriage A-la-Mode: 1, The Marriage Settlement, c. 1743. Oil on canvas. 66.9 x 90.8 cm. The National Gallery, London.
William Hogarth (British, 1697–1764). Marriage A-la-Mode: 2, The Tête-à-Tête, c. 1743. Oil on canvas. 66.9 x 90.8 cm. The National Gallery, London.
William Hogarth (British, 1697–1764). Marriage A-la-Mode: 3, The Inspection, c. 1743. Oil on canvas. 66.9 x 90.8 cm. The National Gallery, London.
William Hogarth (British, 1697–1764). Marriage A-la-Mode: 4, The Toilette, c. 1743. Oil on canvas. 66.9 x 90.8 cm. The National Gallery, London.
William Hogarth (British, 1697–1764). Marriage A-la-Mode: 5, The Bagnio, c. 1743. Oil on canvas. 66.9 x 90.8 cm. The National Gallery, London.
William Hogarth (British, 1697–1764). Marriage A-la-Mode: 6, The Lady’s Death, c. 1743. Oil on canvas. 66.9 x 90.8 cm. The National Gallery, London.
Gérard Jean-Baptiste Scotin (French, 1698–after 1755), after William Hogarth (British, 1697–1764). Marriage A-la-Mode: Plate 1, 1745. Etching and engraving. Sheet: 15 3/16 x 18 5/16 in. (38.5 x 46.5 cm.). Metropolitan Museum of Art, New York.
Bernard Baron (French, 1969–1762), after William Hogarth (British, 1697–1764). Marriage A-la-Mode: Plate 2, 1745. Etching and engraving. Sheet: 15 1/16 x 18 1/4 in. (38.3 x 46.3 cm.). Metropolitan Museum of Art, New York.
Bernard Baron (French, 1969–1762), after William Hogarth (British, 1697–1764). Marriage A-la-Mode: Plate 3, 1745. Etching and engraving. Plate: 15 3/8 x 18 1/2 in. (39 x 47 cm.). Metropolitan Museum of Art, New York.
Simon Francis Ravenet, the elder (French, 1706–1774), after William Hogarth (British, 1697–1764). Marriage A-la-Mode: Plate 4, 1745. Etching and engraving. Plate: 15 1/4 x 18 1/2 in. (38.7 x 47 cm.). Metropolitan Museum of Art, New York.
Simon Francis Ravenet, the elder (French, 1706–1774), after William Hogarth (British, 1697–1764). Marriage A-la-Mode: Plate 5, 1745. Etching and engraving. Plate: 15 1/4 x 18 7/16 in. (38.8 x 46.9 cm.). Metropolitan Museum of Art, New York.
Simon Francis Ravenet, the elder (French, 1706–1774), after William Hogarth (British, 1697–1764). Marriage A-la-Mode: Plate 6, 1745. Engraving. Plate: 15 3/16 x 18 3/8 in. (38.6 x 46.7 cm). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). Beer Street, 1751. Engraving. Sheet: 15 1/8 x 12 11/16 in. (38.4 x 32.2 cm.). Metropolitan Museum of Art, New York.
William Hogarth (British, 1697–1764). Gin Lane, 1751. Etching and engraving. Sheet: 15 1/16 x 12 1/2 in. (38.3 x 31.7 cm.). Metropolitan Museum of Art, New York.
In s3e67 of Platemark, I talk with Amy Namowitz Worthen, a distinguished engraver and curator, about her lifelong journey in printmaking. Influenced early by her artist mother, she pursued art education at Smith College and the University of Iowa, honing her artistic skills under Leonard Baskin and Mauricio Lasansky. Amy's career is marked by multi-faceted contributions to printmaking, including prestigious curatorial positions at Des Moines Art Center, along with helping to establish its Print Club. Her work bridges historical and contemporary practices, with publications and collaborations spanning across the globe, notably in Venice. Personal experiences, including significant tragedies, deeply influenced her art, shaping unique series and projects. Amy's legacy is celebrated through her continued involvement in the art community and her influential prints, which are showcased and valued internationally.
Useful links
FB https://www.facebook.com/amy.worthen
IG @amynamowitzworthen
Link to Hayter film: https://www.youtube.com/watch?v=wUIM9ZiMqzw
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Leonard Baskin (American, 1922–2000). Man of Peace, 1952. Woodcut. Image: 59 5/8 x 30 7/8 in. (151.5 x 78.5 cm.). Metropolitan Museum of Art, New York.
Amy N. Worthen at the Scuola Internazionale de Grafica di Venezia, 1989. Courtesy of the Artist.
View from Amy N. Worthen’s Venice apartment. Courtesy of the Artist.
Amy N. Worthen (American, born 1946). My Wisteria 25, 2023. India ink on Seichosen Tosa Kozo paper. 55 x 29 ½ in. Olson Larsen Gallery, Des Moines.
Amy N. Worthen (American, born 1946). My Wisteria, Venice: Summer Shadows and Sunlight. View from my terrace looking towards Palazzo Zane Collalto, Ponte sant’Agostin, and Palazzo Morosini degli Spezieri (W. japonica floribunda macrobotrys), 2022/2023. India ink on Seichosen Tosa Kozo paper. 55 x 29 ½ in. Olson Larsen Gallery, Des Moines.
Amy N. Worthen (American, born 1946). My Wisteria,Venice: Last year’s seed pods, budding and flowering racemes, a falling blossom, terrace view towards Ponte sant’Agostin (W. japonica floribunda macrobotrys), 2023. India ink and watercolor. 30 x 22 in. Olson Larsen Gallery, Des Moines.
Jacques Bellange (French, c. 1575–1616). Pietà, 1615. Etching with stippling and engraving. Sheet (trimmed): 12 3/16 × 7 13/16 in. (31 × 19.8 cm). Metropolitan Museum of Art, New York.
Giorgio Morandi (Italian, 1890–1964). Natura morta a grandi segni, 1931. Etching. Plate: 9 5/8 x 12 1/2 in. (24.4 x 31.8 cm.); sheet: 15 1/8 x 20 in. (38.4 x 50.8 cm.). Metropolitan Museum of Art, New York.
Amy N. Worthen (American, born 1946). Strumenti d’Incisione (Engraving Tools), 1995. Engraving, roulette, and mezzotint. Plate: 7 3/8 x 6 in. (18.9 x 15.6 cm.). Courtesy of the Artist.
Amy N. Worthen in her home studio, Des Moines. Courtesy of the Artist.
Amy N. Worthen (American, born 1946). The Law Library, from the series Real and Imagined Aspects of the Iowa State Capitol, 1977. Etching. Plate: 17 ½ x 14 ½ in. (44.5 x 36.8 cm.). Courtesy of the Artist.
Amy N. Worthen (American, born 1946). Terrace Hill with Peacock, 2008. Engraving. Plate: 13 7/8 x 16 ½ in. (35 x 42 cm.). Courtesy of the Artist.
Amy N. Worthen (American, born 1946). Sotoportego Pisano, from the series Sotoporteghi Veneziani, 1994. Engraving. 9 x 7 7/8 in. (22.7 x 20 cm.). Olson Larsen Gallery, Des Moines.
Antonio del Pollaiuolo (Italian, 1431/32–1498). Battle of the Nudes, 1470s–80s. Engraving. Sheet: 42.4 x 60.9 cm. (16 11/16 x 24 in.); plate: 42 x 60.4 cm. (16 9/16 x 23 3/4 in.). The Cleveland Museum of Art.
Amy N. Worthen (American, born 1946). House in Ruins, 1986. Engraving. Plate: 16 ¾ x 13 7/8 in. (42.5 x 35.3 cm.). Courtesy of the Artist.
Amy N. Worthen (American, born 1946). House of Emblems, 1988. Engraving, roulette, and mezzotint. Plate: 24 x 18 in. (61 x 45.7 cm.). Courtesy of the Artist.
Amy N. Worthen (American, born 1946). Vanitas, 1987. Engraving. Plate: 14 ¾ x 11 7/8 in. (37 x 30.4 cm.). Courtesy of the Artist.
Amy N. Worthen (American, born 1946). A Sphinx Fountain, 1971. Engraving. Plate: 14 1/8 x 12 ½ in. (36 x 31.7 cm.). Courtesy of the Artist.
Amy N. Worthen (American, born 1946). Melancolia II, 1973. Engraving. Plate: 8 1/8 x 14 7/8 in. (20.5 x 38 cm.). Courtesy of the Artist.
Amy N. Worthen (American, born 1946). The Supreme Court, from the series Real and Imagined Aspects of the Iowa State Capitol, 1977. Engraving and etching. Plate: 13 7/8 x 16 ¾ in. (35.2 x 42.5 cm.). Courtesy of the Artist.
Amy N. Worthen (American, born 1946). An Iowa Valentine, 1990. Engraving with hand coloring. Plate: 6 7/8 x 5 in. (17.5 x 12.7 cm.). Olson Larsen Gallery, Des Moines.
Amy N. Worthen (American, born 1946). Iowa Alphabet, 1990. 25 engravings with watercolor. Overall: 19 7/8 x 15 in. (50.1 x 38.1 cm.). Courtesy of the Artist.
Amy N. Worthen (American, born 1946). Iowa Alphabet: VOTE, 2020. Engraving printed in blue. Courtesy of the Artist.
Amy N. Worthen (American, born 1946). Iowa Alphabet: VOTE, 2020. Engraving printed in blue with watercolor. Courtesy of the Artist.
Amy N. Worthen (American, born 1946). Billboard with Iowa Alphabet: VOTE, 2020. Courtesy of the Artist.
Get-Out-The-Vote postcards featuring Amy N. Worthen’s Iowa Alphabet: VOTE, 2020. Courtesy of the Artist.
Amy N. Worthen speaks in front of her Wisteria drawings at Olson Larsen Gallery, Des Moines, 2023. Courtesy of the Artist.
In s3e66 of Platemark, host Ann Shafer talks with Jennifer Roberts, an art historian and professor at Harvard, about her latest book, Contact: Art and the Pull of Print, which explores the intersection of intellectual and technical richness in print. Jennifer's book offers a fresh perspective on printmaking, synthesizing simple maneuvers like reversal and pressure to account for the medium's expansive influence. Based on her acclaimed Mellon Lectures delivered during the pandemic, the book is both conversational and accessible, aiming to engage a wide audience beyond the traditional confines of print expertise.
They also talk about Jennifer's journey into the world of print, which began during her research into the movement and dissemination of images within the Anglo-American world during the 18th and 19th centuries. Initially focused on the path of oil paintings, she inadvertently found herself immersed in the world of prints, specifically currency engraving—an intricate craft demanding the production of unreplicable reproductive objects to combat counterfeiting.
Jennifer shares insights from her 20+ years of teaching where she emphasizes long looking at objects (3 hours!) and integrates studio and theoretical learning. Additionally, Jennifer discusses an exciting collaboration with artist Dario Robleto. Their joint work delves into the fascinating realm of printed sound, specifically examining the Golden Record—a phonographic record sent into space on the Voyager probes. This project exemplifies Jennifer's penchant for exploring the intersections of materiality, meaning, and communication within both earthly and cosmic contexts, as well as the intersections of art, science, and the evolution of visual culture.
Cover photo: Sharona Jacobs.
USEFUL LINKS
Bio https://haa.fas.harvard.edu/people/jennifer-roberts
IG @jenniferrrrrroberts
Jennifer Roberts’s books and lectures
Contact: Art and the Pull of Print, 2024 https://press.princeton.edu/books/paperback/9780691255859/contact-art-and-the-pull-of-print?srsltid=AfmBOoq_6iSOwrkK9suakEqQRn7TWwBvOj4zyh0Gf3zLcw4gvTpA2uC3
Mellon Lectures, National Gallery of Art https://www.nga.gov/research/casva/meetings/mellon-lectures-in-the-fine-arts/roberts-2021.html
Transporting Visions: The Movement of Images in Early America, 2014 https://www.ucpress.edu/books/transporting-visions/hardcover
Jasper Johns/In Press: The Crosshatch Works and the Logic of Print, 2012 https://shop.harvardartmuseums.org/products/jasper-johns-in-press-the-crosshatch-works-and-the-logic-of-print
The Metamorphic Press: Jasper Johns and the Monotype, 2017 https://www.academia.edu/35947545/The_Metamorphic_Press_Jasper_Johns_and_the_Monotype_2017_
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We're replaying a past bonus episode in which History of Prints SME Tru and Platemark host Ann talk about their art origins. They come from pretty different backgrounds, but they are in complete alignment about art, art history, prints, and print history. So, listen in as they talk about how they got to where they are.
In this episode, go behind the scenes at the museum with Alison Luxner, a paper conservator at the Museum of Fine Arts in Boston. Alison shares her journey to becoming a conservator, the lengthy education and training process, and her diverse experiences working in various conservation roles. They also delve into the specifics of handling and conserving works on paper, the pros and cons of using gloves, and share some adventures in couriering artwork all over the world. Furthermore, they discuss different career paths within the field. Ann and Alison's conversation underscores the complexities of art conservation and the passion required to excel in this meticulous profession.
Paper Conservator Alison Luxner treating a large Jules Cheret poster, La Loïe Fuller, 1893. Museum of Fine Arts, Boston.
Paper Conservator Alison Luxner treating a group of hand-colored linoleum cuts by Allan Rohan Crite. Museum of Fine Arts, Boston.
Paper Conservator Alison Luxner treating a wood engraving by Edwin Holgate, Nude by a Lake, c. 1932. Museum of Fine Arts, Boston.
Paper Conservator Alison Luxner looking closely with a microscope at Martin Schongauer’s engraving Temptation of Saint Anthony, 1470-74. Museum of Fine Arts, Boston.
Host Ann Shafer with Alison Luxner’s mother, Joan Kaskell, and Ann’s father, Don MacNary.
In this History of Prints episode of Platemark, host Ann Shafer and subject matter expert Tru Ludwig explore the extraordinary life and legacy of Maria Sibylla Merian. Celebrated for her pioneering work on insect metamorphosis and her detailed illustrations of flora and fauna, Merian's journey took her to Suriname where she documented local species with the help of native people and slaves. Despite the societal constraints of the 17th century, she made significant contributions to both science and art, influencing future generations. The discussion also situates her achievements within the broader context of the Enlightenment and printmaking evolution, drawing comparisons with other naturalists like Audubon. The episode concludes with a teaser for an upcoming feature on William Hogarth, noted for his political satire.
George Peabody Library, Baltimore, MD.
Johann Zoffany (German, 1733–1810). The Academicians of the Royal Academy, 1771–72. Oil on canvas. 101.1 x 147.5 cm. Royal Collection Trust.
Maria Sibylla Merian (Dutch, 1647–1717) on the 500 Deutsche Mark.
Maria Sibylla Merian (Dutch, 1647–1717) on a German postage stamp.
Jacob Marrel (German, 1613–1681). Portrait of Maria Sibylla Merian, 1679. Oil on canvas. 59 x 50.5 cm. Kunstmuseum Basel.
[DETAIL] Joachim von Sandrart I (German, 1606–1688) and Philipp Kilian (German, 1628–1693). Detail of Portraits of Michel le Blond, Aegidius Sadeler, Georg Petele, Matthaus Merian, Renbrant a Rhen, Carol Screta, c. 1683. Engraving. Plate: 12 1/4 × 7 7/8 in. (31.1 × 20 cm.); sheet: 12 3/4 × 8 3/8 in. (32.4 × 21.3 cm.). Detroit Institute of Arts, Detroit.
Wenceslaus Hollar (Flemish, 1607–1677). Muff with a band of brocade, 1647. Etching. Plate: 11.3 x 8.3 cm. Museum of New Zealand Te Papa Tongarewa, Wellington, New Zealand.
Matthäus Merian (Swiss, 1593–1650). Todten-Tantz Wie derselbe in der Weitberümbten Statt Basel als ein Spiegel Menschlicher beschaffenheit gantz Künstlich mit Lebendigen Farben Gemahlet, nicht ohne nutzliche Verwunderung zusehen ist. Basel: Mieg, 1621. Thüringer Landesmuseum Heidecksburg.
Jacob Marrel (German, 1613–1681). Four Tulips: (Boterman, Joncker, Grote geplumaceerde, and Voorwint), c. 1635–45. Watercolor on vellum. 13 3/8 x 17 11/16 in. Metropolitan Museum of Art, New York.
Rachel Ruysch (Dutch, 1664–1750). Festoon with Flowers and Fruit, 1682. Oil on canvas. 38 x 33 cm. National Gallery of Prague.
Maria Sibylla Merian (Dutch, 1647–1717 ). Plate 5 from volume 1 of Der Raupen wunderbare Verwandlung und sonderbare Blumennahrung (The Caterpillars' Marvelous Transformation and Strange Floral Food). Germany: self-published, 1679.
Jan Goedaert (German, 1617–1668). Study for and engraving of metamorphosis of a moth.
Tru Ludwig (American, born 1959). Dumb Luck, 2009. Two-plate etching, printed à la poupée. Plate: 37 ½ x 27 in.; sheet (42 x 30 in.). Courtesy of the Artist.
Jacobus Houbraken (Dutch, 1698–1780), after Georg Gsell (Swiss, 1673–1740). Portrait of Maria Sibylla Merian. Engraving with hand coloring, frontispiece in Der Rupsen Begin, Voedzel en Wonderbaare Verandering. Waar in De Oorspronk, Spys en Gestaltverwisseling; als ook de Tyd, Plaats en Eigenschappen de Rupsen, Wormen, Kapellen, Uiltjes, Vliegen, en andere diergelyke bloedelooze Beesjes vertoond word. Amsterdam: self-published, 1717.
Maria Sibylla Merian (Dutch, 1647–1717). Neues Blumenbuch. Nuremberg: self-published, 1680.
Maria Sibylla Merian (Dutch, 1647–1717). Blumenbuch. Nuremberg: Johann Andreas Graff, 1675.
Maria Sibylla Merian (Dutch, 1647–1717). Illustration of a Turk's cap lily (Lilium superbum) from Merian's New Book of Flowers, 1680.
Maria Sibylla Merian (Dutch, 1647–1717). Titlepage from Der Raupen wunderbare Verwandlung und sonderbare Blumennahrung (The Caterpillars' Marvelous Transformation and Strange Floral Food). Germany: self-published, 1679.
Jim Dine (American, born 1935). The Temple of Flora, 1984. San Francisco, Arion Press, 1984.
Maria Sibylla Merian (Dutch, 1647–1717). A Pineapple Surrounded by Cockroaches, c. 1701–05. Watercolor and gouache on vellum. British Museum, London.
Maria Sibylla Merian (Dutch, 1647–1717). Merian's 'forest rat' or opossum (Didelphimorphia) carrying her young. Detail from plate 66 of Metamorphosis Insectorum Surinamensium. Amsterdam: self-published, 1705.
Maria Sibylla Merian (Dutch, 1647–1717). Plate (frog) from Metamorphosis Insectorum Surinamensium. Amsterdam: self-published, 1705.
Maria Sibylla Merian (Dutch, 1647–1717). Metamorphosis Insectorum Surinamensium ofte Verandering der Surinaamsche Insecten. Amsterdam: self-published, 1705.
Maria Sibylla Merian (Dutch, 1647–1717). Ripe Pineapple with Dido Longwing Butterfly, 1702–03. Watercolor and gouache with gum arabic over lightly etched outlines on vellum. 43.5 x 28.8 cm. Royal Collection Trust, London.
Maria Sibylla Merian (Dutch, 1647–1717). Ripe Pineapple with Dido Longwing Butterfly, from the book, Metamorphosis Insectorum Surinamensis. Amsterdam: Johannes Oosterwyk, 1718.
Maria Sibylla Merian (Dutch, 1647–1717). Plate (praying mantes) from Metamorphosis Insectorum Surinamensium. Amsterdam: self-published, 1705.
Maria Sibylla Merian (Dutch, 1647–1717). Plate (snake) from Metamorphosis Insectorum Surinamensium. Amsterdam: self-published, 1705.
Maria Sibylla Merian (Dutch, 1647–1717). Plate (tarantula) from Metamorphosis Insectorum Surinamensium. Amsterdam: self-published, 1705.
[DETAIL] Maria Sibylla Merian (Dutch, 1647–1717). Plate (tarantula) from Metamorphosis Insectorum Surinamensium. Amsterdam: self-published, 1705.
Maria Sibylla Merian (Dutch, 1647–1717). Plate (tarantula) from Metamorphosis Insectorum Surinamensium. Amsterdam: self-published, 1705.
Maria Sibylla Merian (Dutch, 1647–1717). Plate (croc eating snake) from Metamorphosis Insectorum Surinamensium. Amsterdam: self-published, 1705.
Maria Sibylla Merian (Dutch, 1647–1717). Plate (pineapple and cockroaches) from Metamorphosis Insectorum Surinamensium. Amsterdam: self-published, 1705.
Maria Sibylla Merian (Dutch, 1647–1717). Watercolor study of Toucan for Metamorphosis Insectorum Surinamensium ofte Verandering der Surinaamsche Insecten. Amsterdam: self-published, 1705.
Maria Sibylla Merian (Dutch, 1647–1717). Plate (black tegu) from Metamorphosis Insectorum Surinamensium. Amsterdam: self-published, 1705.
Jacobus Houbraken (Dutch, 1698–1780), after Georg Gsell (Swiss, 1673–1740). Portrait of Maria Sibylla Merian. Engraving, frontispiece in Der Rupsen Begin, Voedzel en Wonderbaare Verandering. Waar in De Oorspronk, Spys en Gestaltverwisseling; als ook de Tyd, Plaats en Eigenschappen de Rupsen, Wormen, Kapellen, Uiltjes, Vliegen, en andere diergelyke bloedelooze Beesjes vertoond word. Amsterdam: self-published, 1717.
Thomas Bewick (British, 1753–1828). Title page from History of British Birds. Newcastle: Beilby & Bewick, 1797.
Thomas Bewick (British, 1753–1828). Title page from The Supplement to the History of British Birds. London: Longman and Co., 1821.
Dr. Robert Thorton (British). Flowering Cereus from The Temple of Flora, 1807. Color mezzotint. London: self-published, 1812.
Sotheby's auction house workers David Goldthorpe, left, and Mary Engleheart, go through a rare copy of a book of illustrations by John James Audubon's Birds of America, in central London, Thursday Sept. 9, 2010. (AP / Lefteris Pitarakis)
John James Audobon (French-American, 1785–1851). The Birds of America. London: self-published, 1827–38.
John James Audobon (French-American, 1785–1851). Flamingo fron The Birds of America. London: self-published, 1827–38.
John James Audobon (French-American, 1785–1851). Carolina Parakeets from The Birds of America. London: self-published, 1827–38.
John James Audobon (French-American, 1785–1851). Northern Loons The Birds of America. London: self-published, 1827–38.
John James Audobon (French-American, 1785–1851). Hawks eating dinner from The Birds of America. London: self-published, 1827–38.
In this episode of Platemark, host Ann Shafer talks with renowned printmaker Jenny Robinson who recently opened up her eponymous print shop in Sydney, Australia.
Jenny shares her experiences moving from America to Slovenia during the Trump era, integrating into Slovenia's printmaking community, and ultimately relocating to Sydney, Australia, to establish her print atelier. We talk about the challenges of getting different materials and the cultural contrasts in the art scenes of America, Europe, and Australia, backing and seaming prints with gampi (thanks to Paul Mullowney’s tutelage), flying with rolled prints in golf bags (for free!), and the Mario Avati Prize, which led to a one-person exhibition in the Institut de France in Paris, across the river from the Louvre.
The episode also touches upon the extensive network and collaborative spirit of printmakers and Jenny's summer residency at Flatbed Press in Austin, TX. Throughout the conversation, Jenny emphasizes the significance of artist visits, educational resources in art, and her ambitions for large-scale prints and workshops in her new Sydney studio.
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International Center of Graphic Arts (Mednarodni grafični likovni center), Ljubljana, Slovenia. Photo by Jaka Babnik.
Jenny Robinson (British, born 1957). Architectural Anomalies Series #2: Cornerstone. Drypoint on Gampi. 40 x 60 in. Courtesy of the Artist.
Jenny Robinson (British, born 1957). Palm House Series #2: The Glass House. Drypoint on Gampi. 137 x 300 cm. Courtesy of the Artist.
Jenny Robinson pinning up Palm House Series #2: The Glass House.
Jenny Robinson (British, born 1957). Palm House #1, 2021. Drypoint on Gampi. 137 x 300 cm. Courtesy of the Artist.
Jenny Robinson (British, born 1957). Paradigm. Drypoint on Gampi, backed with Sekishu. 60 x 80 in. Courtesy of the Artist.
Jenny Robinson (British, born 1957). Above L.A. Drypoint and monoprint. Sheet: 51 x 34 in. Courtesy of the Artist.
Jenny Robinson (British, born 1957). Hidden Lines, Fragile Frameworks, 2021, Drypoint on Gampi and Mulberry paper. Each: 150 x 98 cm. Courtesy of the Artist.
Jenny Robinson’s converted warehouse home, Sydney.
Jenny Robinson was awarded the Mario Avati Prix de Gravure in 2019. Solo exhibition took place at Le Pavillion comtesse de Caen, Academie des Beaux Arts, September 2021.
Installation shot of Jenny Robinson’s exhibition for the Mario Avati Prix de Gravure, Le Pavillion comtesse de Caen, Academie des Beaux Arts, Paris, September 2021.
Institut de France, Paris, 2021.
Installation shot of Jenny Robinson (British, born 1957). Structures, 2019. Drypoint on Gampi. Courtesy of the Artist.
Jenny Robinson Print Studio, Sydney.
Jenny Robinson Print Studio, Sydney.
In s3e63 of Platemark, podcast host Ann Shafer talks with collaborative printer Peter Pettengill. Peter founded Wingate Studio in 1985 on his family’s dairy farm in Hinsdale, NH. Originally trained at Crown Point Press, Peter specializes in multi-plate color etchings. Now semi-retired, Peter’s son James has taken over the operating of the shop, though Peter lends a hand when requested.
They talk about Peter's early experiences at Crown Point Press, his work with celebrated artists such as John Cage, Sol LeWitt, and Walton Ford, and the technical and creative complexities of creating fine art prints. Peter reflects on his transition to semi-retirement, the passing of his studio to his son James, and the historical and artistic significance of their family farm turned artist residency. This episode offers listeners an insightful look into the dedication required in printmaking, the balance between creativity and technical skill, and the supportive community that underpins the art world.
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Robert Mapplethorpe (American, 1946–1989). Plate from the portfolio A Season in Hell, 1986. Photogravure printed with relief roll. Published by Limited Editions Club, photogravures by Jon Goodman and printed by Wingate Studio, text printed by Wild Carrot Press.
Sol LeWitt (American, 1928–2007). Crown Point, 1980. Bound volume with photoetchings. Plate (each) 2 ½ x 2 ½ in.; sheet (each) 11 x 11 in. Published by Crown Point Press, printed by Kevin Parker.
Joan Jonas (American, born 1936). Double Wheel, 1982. Color aquatint. Plate and sheet: 24 x 36 in. Published by Crown Point Press, printed by Peter Pettengill.
Sol LeWitt (American, 1928–2007). Complex Forms, 1990. Hard ground etching. Sheet: 36 x 36 in.; plate: 30 x 30 in. Printed by Wingate Studio.
John Cage (American, 1912–1992). Ryoku No. 4, 1985. Color drypoint. Plate: 18 x 24 in.; sheet: 18 x 24 in. Published by Crown Point Press, printed by Marcia Bartholme.
John Cage (American, 1912–1992). EninKa, 1986. One of 50 smoked paper monotypes with branding on gampi paper chine collé. Sheet: 18 ½ x 24 ½ in. Published by Crown Point Press, printed by Marcia Bartholme.
Walton Ford (American, born 1960). Swadeshi-cide, 1998–99. Six-plate aquatint etching with dry point, hard ground, soft ground, spit bite and sugar lift. Plate: 36 x 24 in.; sheet: 44 x 31 in. Published by Blue Heron Press, printed by Wingate Studio.
Walton Ford (American, born 1960). Baba–B.G., 1997. Mixed media. 105 x 74 cm. Paul Kasmin Gallery.
Walton Ford (American, born 1960). Bangalore, 2004. Six-plate aquatint etching with dry point, hard ground, soft ground, spit bite and sugar lift. Plate: 12 x 9 in.; sheet: 21 1/2 x 16 in. Published by Kasmin Gallery, printed by Wingate Studio.
Ambreen Butt (American, born Pakistan, 1969). Plate from Daughter of the East, 2008. Six-plate aquatint etching with chine collé, dry point and spit bite. Plate: 13 x 18 in. ; sheet: 25 x 19 in. Printed and published by Wingate Studio.
Ambreen Butt (American, born Pakistan, 1969). Plate from Daughter of the East, 2008. Six-plate aquatint etching with chine collé, dry point and spit bite. Plate: 13 x 18 in. ; sheet: 25 x 19 in. Printed and published by Wingate Studio.
Ambreen Butt (American, born Pakistan, 1969). Plate from Daughter of the East, 2008. Six-plate aquatint etching with chine collé, dry point and spit bite. Plate: 13 x 18 in. ; sheet: 25 x 19 in. Printed and published by Wingate Studio.
Xylor Jane (American, born 1963). Plate from Cat Hearts, 2023. Four-plate aquatint etching with sugar lift. Plate: 23 3/4 x 27 1/4 in.; sheet: 28 5/8 x 32 1/4 in. Printed and published by Wingate Studio.
Xylor Jane (American, born 1963). Third Order Magic Square for Deep Sleep, 2014. Three-plate aquatint etching. Plate: 17 3/4 x 15 1/2 in.; sheet: 24 1/2 x 21 3/4 in. Published by Wingate Studio.
Walton Ford (American, born 1960). Nantes, 2009. Two-plate aquatint etching with dry point, hard ground, and spit bite. Plate: 40 x 30 in.; sheet: 48 x 37 in. Published by Kasmin Gallery, printed by Wingate Studio.
Daniel Rios Rodriguez (American, born 1978). South Parish, 2017. Single-plate aquatint etching with burnishing, dry point, electric engraving, hard ground and soft ground. Plate: 20 x 17 in. (oval); sheet: 22 x 30 1/2 in. Published by Wingate Studio.
Gideon Bok (American, born 1966). Wingate Studio with Aldo’s Press, Threnody for R.L. Burnside, 2005. Three-plate aquatint etching with burnishing, dry point, hard ground, sugar lift and white ground. Plate: 12 x 36 in.; sheet: 20 x 44 in. Printed and published by Wingate Studio. Photo: Stephen Petegorsky.
Gideon Bok (American, born 1966). Wingate Studio with Aldo’s Press, No Sleep ’Til Hinsdale, 2008. Five-plate aquatint etching with burnishing, dry point, hard ground, sugar lift and white ground. Plate: 12 x 36 in.; sheet: 20 x 44 in. Printed and published by Wingate Studio. Photo: Stephen Petegorsky.
Louise Bourgeois (American, born France, 1911–2010). Les Fleurs, 2007. Soft ground etching, with selective wiping. Plate (in 2 vertical parts) (overall): 59 5/8 × 35 ¼ in.; sheet: 59 5/8 x 36 1/8. Published by Osiris, New York, printed by Wingate Studio.
Louise Bourgeois working on I See You!!!.
Louise Bourgeois (American, born France, 1911–2010). I See You!!!, 2007. Soft ground etching, with selective wiping. Plate: 55 1/2 x 21 5/8 in.; sheet: 59 1/8 x 24 1/8 in. Published by Osiris, New York, printed by Wingate Studio.
Sebastian Black (American, born 1985). Composition with Registration Marks and Other Marks, 2017. Five-plate aquatint etching with burnishing, soap ground and spit bite. Plate: 24 x 18 in.; sheet: 31 ¾ x 24 1/2 in. Published and printed by Wingate Studio.
L–R: Paul Singdahlsen, Peter Pettengill, Nanacy Anello, Kathan Brown, and Vito Acconci at Crown Point Press.
L–R: Peter Pettengill, Ed Ruscha, Marcia Bartholme at Crown Point Press.
Peter Pettengill (left) and James Pettengill working on a Sebastian Black print at Wingate Studio.
Peter Pettengill working at Wingate Studio.
Peter Pettengill (left) and Walton Ford working at Wingate Studio.
Wingate’s website: https://wingatestudio.com/
Wingate’s FB page: https://www.facebook.com/search/top?q=wingate%20studio
Instagram: @wingatestudio
In this five-part mini-series, Ann is talking to five artists who were selected to be included in an exhibition called 5X5, that was part of Print Austin's winter festival this year in 2024. The juror of the show is Mysczka Lewis, who is a curator at Tandem Press. Next up is Teresa Cole, an artist and printmaker from New Orleans. She has taught at Tulane University for nearly thirty years.
Teresa’s interest in the humanness of pattern has been a throughline in her work and she incorporates different cultures’ methods of patternmaking and storytelling in beautiful installations. In their conversation, they talk about orizome (a Japanese method of folding and dyeing paper), commissioning printed fabric for saris in India, printing on aluminum mesh, and Tulane’s tuition-free master’s program.
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Teresa Cole (American, born 1961). Exchange. Installation shot of printed stainless steel and aluminum cylinders. Freeman School of Business, Tulane University, New Orleans. Photo: Neil Alexander.
Teresa Cole (American, born 1961). Exchange. Pre-installation shot of printed stainless steel and aluminum cylinders. Freeman School of Business, Tulane University, New Orleans.
Teresa Cole (American, born 1961). Cosmati, 2021. Hand-cut Washi. 26 x 18 in. Courtesy of the Artist.
Teresa Cole (American, born 1961). Tessellation Entanglement, 2021. Screenprinted porcelain. 4 x 8 feet. Courtesy of the Artist.
Teresa Cole (American, born 1961). Redeem, 2023. Puff paint screenprinted on digital velvet. Installation view at WhiteSpace Gallery, January–February 2023.
Teresa Cole (American, born 1961). Bee Pattern, 2014. Screenprint. 25 x 16 in. Courtesy of the Artist.
Teresa Cole (American, born 1961). Infusion, 2017. Dyed relief printed Washi with bamboo. 48 x 117 in. Courtesy of the Artist.
Teresa Cole (American, born 1961). Saturate 2.0, 2017. Dyed relief printed Washi with bamboo. Courtesy of the Artist.
Printing fabric at Kanishka, India.
Hand-carved printing blocks carved for the artist at Kanishka, India.
Teresa Cole (American, born 1961). Seep, 2015. Process shot. Courtesy of the Artist.
Teresa Cole (American, born 1961). Seep, 2015. Relief printed and dyed Japanese paper with bamboo sticks. Installation at Artfields. Courtesy of the Artist.
Teresa Cole (American, born 1961). Seep, 2015 (left). Relief printed and dyed Japanese paper with bamboo sticks. Installation at Callan Contemporary, 2025. Courtesy of the Artist.
Teresa Cole (American, born 1961). Tangled Conquest, 2015. Relief printed on folded and dyed paper with sumi and walnut. 65 x 77 x 25 in. Courtesy of the Artist.
Wondering how far you can take chine collé in a project? Listen in as Annalise Gratovich tells us all about this method of adding thin pieces of hand-dyed papers to giant woodcuts.
In s3e61 of Platemark, podcast host Ann Shafer continues talking to artists included in Print Austin’s 5x5 exhibition, juried by Myzska Lewis, a curator at Tandem Press. Next up is artist Annalise Gratovich. Annalise works in woodcut primarily (and etching), and is best known for her monumental woodcuts with multiple dyed papers glued down by chine collé.
We take a deep dive into the ins and outs of chine collé, her Ukranian heritage and inherited trauma, cuteness as a means to help viewers access difficult subjects, and her recent battle with a mystery autoimmune disease.
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Annalise Gratovich (American, born 1989). The Healer, from the series Villagers Carrying Things from Home, 2023. Woodblock print with chine collé elements. 71 x 40 in. Courtesy of the Artist.
Annalise Gratovich (American, born 1989). The Mariner, from the series Villagers Carrying Things from Home, 2013–15. Woodblock print with chine collé elements. 71 x 40 in. Courtesy of the Artist.
Annalise Gratovich (American, born 1989). The Mother, from the series Villagers Carrying Things from Home, 2019. Woodblock print with chine collé elements. 71 x 40 in. Courtesy of the Artist.
Annalise Gratovich (American, born 1989). The Undertaker, from the series Villagers Carrying Things from Home, 2021. Woodblock print with chine collé elements. 71 x 40 in. Courtesy of the Artist.
Annalise Gratovich (American, born 1989). The Builder, from the series Villagers Carrying Things from Home, 2013–15. Woodblock print with chine collé elements. 71 x 40 in. Courtesy of the Artist.
Annalise Gratovich (American, born 1989). The Hunter, from the series Villagers Carrying Things from Home, 2013–15. Woodblock print with chine collé elements. 71 x 40 in. Courtesy of the Artist.
Annalise Gratovich (American, born 1989). The Musician, from the series Villagers Carrying Things from Home, 2013–15. Woodblock print with chine collé elements. 71 x 40 in.
Installation view, Flatbed Press, Austin, TX, 2024.
Installation view, Plains Art Museum, Fargo, North Dakota, 2023.
Annalise Gratovich pulling The Healer at Flatbed Press, Austin, TX.
USEFUL LINKS
IG: @annalisegratovich
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Website: https://annalisegratovich.com/
Mesh Art Gallery: https://meshartgallery.com/collections/annalise-gratovich
Flatbed Press: https://flatbed-press.myshopify.com/collections/annalise-gratovich
Enlightenment publications on human anatomy changed the way artists understood their place in the world. Check out these examples of life-changing images brought to you by prints in books!
In s2e31 of Platemark’s History of Prints series, Tru and Ann continue their discussion of the Enlightenment. This time they look at several publications that put forward new discoveries about human anatomy: William Hunter’s The Anatomy of the Human Gravid Uterus, Bernhard Siegfried Albinus’ Tabulae sceleti et musculorum corporis humani, and Jacques Fabien Gautier d’Agoty’s Myologie complette en couleur et grandeur naturelle. They conclude with Denis Diderot’s Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers, a 17-volume tome that attempted to define and codify all of human knowledge.
At the end of the episode, Ann and Tru wax philosophical about how incredible this blossoming of human knowledge is, and how talking about it makes each of them think about our place as humans on the planet. It gets a bit deep, but worthwhile.
A. Hadamart. Exhibition of the Royal Academy of Painting and Sculpture in the Grande Galerie of the Louvre, 1699. Engraving.
Gabriel de Saint-Aubin (French, 1724–1780). Vue du Louvre en l’année 1753, 1753. Etching. Plate: 5 13/16 x 7 1/8 in. (14.8 x 18.1 cm.); sheet: 6 ¼ x 7 5/8 in. (15.8 x 19.3 cm.). Metropolitan Museum of Art, New York.
Pietro Antonio Martini (Italian, 1738–1797). View of the Salon of 1785, 1785. Etching. Plate: 10 7/8 x 19 1/8 in. (27.6 x 48.6 cm.); sheet: 14 1/4 x 20 3/4 in. (36.2 x 52.7 cm.). Metropolitan Museum of Art, New York.
Pietro Antonio Martini (Italian, 1738–1797). View of the Salon of 1787, 1787. Etching. Plate: 12 11/16 x 19 5/16 in. (32.2 x 49.1 cm.); sheet: 14 x 19 3/4 in. (35.6 x 50.2 cm.). Metropolitan Museum of Art, New York.
Pietro Antonio Martini (Italian, 1738–1797), after Johann Heinrich Ramberg (German, 1763–1840). The Exhibition of the Royal Academy 1787, 1787. Engraving. Plate: 36.1 x 49.9 cm. British Museum, London.
Jacques-Louis David (French, 1748–1825). The Oath of the Horatii, 1784/85. Oil on canvas. 10.8 x 13.9 ft. Louvre Museum, Paris.
Sir Joshua Reynolds (British, 1723–1792). Lady Sarah Bunbury Sacrificing to Graces, 1765. Oil on canvas. 242.6 × 151.5 cm. (95 1/2 × 59 3/4 in.). Art Institute of Chicago.
Sir Joshua Reynolds (British, 1723–1792). Lord Heathfield of Gibraltar, 1787. Oil on canvas. 142 x 113.5 cm. National Gallery, London.
Pietro Antonio Martini (Italian, 1738–1797). Salon de 1787: view of the Salon Carre at the Louvre during the painting exhibition in Paris, 1852. Engraving. From Frank Leslie’s Popular Monthly.
Jean-Antoine Houdon (French, 1741–1828). Voltaire Seated, 1781. Terra-cotta. 120 cm. tall. Musée Fabre, Montpellier.
Jean Honoré Fragonard (French, 1732–1806). Les hasards heureux de l’escarpolette (The Swing), c. 1767–68. Oil on canvas. 81 x 64.2 cm. The Wallace Collection, London.
Jean-Antoine Houdon (French, 1741–1828). Benjamin Franklin, 1778. Marble. 23 1/8 × 14 1/2 × 11 1/4 in. Metropolitan Museum of Art, New York.
Rembrandt (Dutch, 1606–1669). The Anatomy Lesson of Dr. Nicolaes Tulp, 1632. Oil on canvas. 216.5 × 169 ½ cm. (85 1/4 × 66 5/8 in.). Mauritshuis, The Hague.
William Hunter (British, 1718–1783). Title page from The Anatomy of the Human Gravid Uterus. Birmingham: John Baskerville, 1774.
Jan van Rymsdyk (Dutch, c. 1730–1790). Plate VI from The Anatomy of the Human Gravid Uterus. London: S. Baker & G. Leigh, 1774. Engraving.
Leonardo da Vinci (Italian, 1452–1519). Sketchbook page: the fetus in the womb, c. 1511. Black and red chalk, pen and brush and ink. The Royal Collection.
Leonardo da Vinci (Italian, 1452–1519). Sketchbook page: the female genetalia and fetus in the womb, c. 1511. Black and red chalk, pen and brush and ink. The Royal Collection.
Johann Zoffany (German, 1733–1810). William Hunter Lecturing, 1770–72. Oil on canvas. Royal College of Physicians, London.
Roman copy of Greek marble. The Dying Gaul, late 3rd century BCE. Marble. Capitoline Museums, Rome.
William Pink (British, 1809–1857), after Agostini Carlini (British, born Italy, c. 1718–1790). Smugglerius, c. 1834. Plaster. Royal Academy of Arts, London.
Thomas Banks (British, 1735–1805). Anatomical Crucifixion (James Legg), 1801. Plaster cast. Royal Academy of Arts, London.
Bernhard Siegfried Albinus (Dutch, born German, 1697–1770). Title page from Tabulae sceleti et musculorum corporis humani. London: H. Woodfall, 1749.
Bernhard Siegfried Albinus (Dutch, born German, 1697–1770). Page from Tabulae sceleti et musculorum corporis humani. London: H. Woodfall, 1749.
Bernhard Siegfried Albinus (Dutch, born German, 1697–1770). Page from Tabulae sceleti et musculorum corporis humani. London: H. Woodfall, 1749.
Bernhard Siegfried Albinus (Dutch, born German, 1697–1770). Page from Tabulae sceleti et musculorum corporis humani. London: H. Woodfall, 1749.
Bernhard Siegfried Albinus (Dutch, born German, 1697–1770). Page from Tabulae sceleti et musculorum corporis humani. London: H. Woodfall, 1749.
Jacques Fabien Gautier d’Agoty (French, 1716–1785). Plate from Myologie complette en couleur et grandeur naturelle. Paris: Gautier, Quillau, Lamesle, 1746.
Jacques Fabien Gautier d’Agoty (French, 1716–1785). Plate from Myologie complette en couleur et grandeur naturelle. Paris: Gautier, Quillau, Lamesle, 1746.
Leonardo da Vinci (Italian, 1452–1519). Sketchbook page, c. 1511. Black and red chalk, pen and brush and ink. The Royal Collection.
Jacques Fabien Gautier d’Agoty (French, 1716–1785). Plate from Anatomy of the head, in printed images, representing the natural appearance of the brain at different levels, the distribution of the vessels, the sensory organs and part of the nervous system; taken from dissected and prepared portions of the subjects, 1748. Wellcome Library Collection, London.
Jacques Fabien Gautier d’Agoty (French, 1716–1785). Plate from Exposition anatomique des organes des sens. Paris: Demonville, 1775.
Jacques Fabien Gautier d’Agoty (French, 1716–1785). Plate from Exposition anatomique des organes des sens. Paris: Demonville, 1775.
Jacques Fabien Gautier D'Agoty (1717–1785). Plate from Anatomie générale des viscères. Paris: 1752.
Jacques Fabien Gautier d’Agoty (French, 1716–1785). Plate from Anatomy of the head, in printed images, representing the natural appearance of the brain at different levels, the distribution of the vessels, the sensory organs and part of the nervous system; taken from dissected and prepared portions of the subjects, 1748. Wellcome Library Collection, London.
Jacques Fabien Gautier D'Agoty (1717–1785). Plate from Anatomie des parties de la génération de l'homme et de la femme. Paris, 1773.' Pregnant Woman
Jean-Antoine Houdon (French, 1741–1828). Denis Diderot (1713–1784), 1773. Marble. Height (bust): 15 3/4 in. (40 cm.); height (stand): 4 11/16 in. (11.9 cm.). Metropolitan Museum of Art, New York.
Denis Diderot (French, 1713–1784) and Jean le Rond d'Alembert (French, 1717–1783). Title page and frontispiece from Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers. Paris: André le Breton, Michel-Antoine David, Laurent Durant, and Antoine-Claude Briasson, 1751–72.
Denis Diderot (French, 1713–1784) and Jean le Rond d'Alembert (French, 1717–1783). Plate from Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers. Paris: André le Breton, Michel-Antoine David, Laurent Durant, and Antoine-Claude Briasson, 1751–72.
Anatomy pages from the Encyclopedia Britannia, 1963.
Flags pages from the Encyclopedia Britannia, 1963.
Denis Diderot (French, 1713–1784) and Jean le Rond d'Alembert (French, 1717–1783). Plate from Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers. Paris: André le Breton, Michel-Antoine David, Laurent Durant, and Antoine-Claude Briasson, 1751–72.
Denis Diderot (French, 1713–1784) and Jean le Rond d'Alembert (French, 1717–1783). Plate from Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers. Paris: André le Breton, Michel-Antoine David, Laurent Durant, and Antoine-Claude Briasson, 1751–72.
Denis Diderot (French, 1713–1784) and Jean le Rond d'Alembert (French, 1717–1783). Plate from Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers. Paris: André le Breton, Michel-Antoine David, Laurent Durant, and Antoine-Claude Briasson, 1751–72.
Denis Diderot (French, 1713–1784) and Jean le Rond d'Alembert (French, 1717–1783). Plate from Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers. Paris: André le Breton, Michel-Antoine David, Laurent Durant, and Antoine-Claude Briasson, 1751–72.
Denis Diderot (French, 1713–1784) and Jean le Rond d'Alembert (French, 1717–1783). Plate from Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers. Paris: André le Breton, Michel-Antoine David, Laurent Durant, and Antoine-Claude Briasson, 1751–72.
Denis Diderot (French, 1713–1784) and Jean le Rond d'Alembert (French, 1717–1783). Plate from Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers. Paris: André le Breton, Michel-Antoine David, Laurent Durant, and Antoine-Claude Briasson, 1751–72.
Denis Diderot (French, 1713–1784) and Jean le Rond d'Alembert (French, 1717–1783). Plate from Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers. Paris: André le Breton, Michel-Antoine David, Laurent Durant, and Antoine-Claude Briasson, 1751–72.
Denis Diderot (French, 1713–1784) and Jean le Rond d'Alembert (French, 1717–1783). Plate from Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers. Paris: André le Breton, Michel-Antoine David, Laurent Durant, and Antoine-Claude Briasson, 1751–72.
Denis Diderot (French, 1713–1784) and Jean le Rond d'Alembert (French, 1717–1783). Plate from Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers. Paris: André le Breton, Michel-Antoine David, Laurent Durant, and Antoine-Claude Briasson, 1751–72.
Denis Diderot (French, 1713–1784) and Jean le Rond d'Alembert (French, 1717–1783). Plate from Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers. Paris: André le Breton, Michel-Antoine David, Laurent Durant, and Antoine-Claude Briasson, 1751–72.
Denis Diderot (French, 1713–1784) and Jean le Rond d'Alembert (French, 1717–1783). Plate from Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers. Paris: André le Breton, Michel-Antoine David, Laurent Durant, and Antoine-Claude Briasson, 1751–72.
Denis Diderot (French, 1713–1784) and Jean le Rond d'Alembert (French, 1717–1783). Plate from Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers. Paris: André le Breton, Michel-Antoine David, Laurent Durant, and Antoine-Claude Briasson, 1751–72.
Denis Diderot (French, 1713–1784) and Jean le Rond d'Alembert (French, 1717–1783). Plate from Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers. Paris: André le Breton, Michel-Antoine David, Laurent Durant, and Antoine-Claude Briasson, 1751–72.
Francisco de Goya (Spanish, 1746–1828). Plate 43 from Los Caprichos: The sleep of reason produces monsters (El sueño de la razon produce monstruos), 1799. Etching and aquatint. Plate: 8 3/8 x 5 15/16 in. (21.2 x 15.1 cm.); sheet: 11 5/8 x 8 1/4 in. (29.5 x 21 cm.). Metropolitan Museum of Art, New York.
In Platemark’s History of Prints series, we are leaving the Baroque behind and are turning to the Enlightenment. The late seventeenth and eighteenth century is a fascinating time when social ideas focused on the value of knowledge in all sectors. Rationalism and empiricism led to the scientific revolution, the separation of church and state, literary salons, and for the purposes of this episode, art academies. The era saw the establishment of taxonomies, dictionaries, encyclopedias, and studies of foreign cultures. The results of all of these studies led to both good and bad, leading Tru and I to discuss alternate terms for the era beyond the Enlightenment: the Endarkenment and the Enwhitenment. Listen in as we parse out this fascinating moment in history.
You can listen to Platemark or watch a video version. Links to all the possibilities are on the episode page at www.platemarkpodcast.com.
George Peabody Library, Johns Hopkins University, Baltimore.
Hyacinth Rigaud (French, 1659–1743). Louis VIX, 1700–01. Oil on canvas. 277 x 194 cm. (109 x 76 3/8 in.) The Louvre, Paris.
Aerial view of Versailles.
Nicolas Poussin (French, 1594–1665). Et in Arcadia ego, 1637–38. Oil on canvas. 85 × 121 cm. (34 1/4 × 47 1/4 in.). Louvre, Paris.
Gian Lorenzo Bernini (Italian, 1598–1680). Bust of Louis XIV, 1665. Marble. Palace of Versailles.
Façade of the Louvre Museum.
Nicolas Poussin (French, 1594–1665). Landscape with St. John Patmos, 1640. Oil on canvas. 100.3 × 136.4 cm (39 1/2 × 53 5/8 in.). Art Institute of Chicago, Chicago.
Johann Zoffany (German, 1733–1810). The Academicians of the Royal Academy, 1771–72. Oil on canvas. 101.1 x 147.5 cm. Royal Collection Trust.
Raphael (Italian, 1483–1520). School of Athens, 1509–11. Stanza della Segnatura, Apostolic Palace, Vatican.
Roman. Laocoön and His Sons, 27 BCE–68 CE. Marble. 208 × 163 × 112 cm. (82 × 64 × 44 in.). Museo Pio-Clementino, Vatican City.
Wax ecorché figure. Science Museum, London.
Johann Zoffany (German, 1733–1810). William Hunter Lecturing, 1770–72. Oil on canvas. Royal College of Physicians, London.
Anton von Maron (German, 1733–1808). Portrait of Johann Joachim Winkelmann, 1767. Oil on canvas. 136 x 99 cm. (53 ½ x 38 7/8 in.). Collection of Schloss Weimar, Weimar, Germany.
Jacques-Louis David (French, 1748–1825). The Oath of the Horatii, 1784/85. Oil on canvas. 10.8 x 13.9 ft. Louvre Museum, Paris.
Jan van Riemsdyck, Plate VI from The Anatomy of the Human Gravid Uterus. London: S. Baker & G. Leigh, 1774. Engraving.
Francisco de Goya (Spanish, 1746–1828). Plate 43 from Los Caprichos: The sleep of reason produces monsters (El sueño de la razon produce monstruos), 1799. Etching and aquatint. Plate: 8 3/8 x 5 15/16 in. (21.2 x 15.1 cm.); sheet: 11 5/8 x 8 1/4 in. (29.5 x 21 cm.). Metropolitan Museum of Art, New York.
Denis Diderot (French, 1713–1784). Title page and frontispiece from Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers. Paris : André le Breton, Michel-Antoine David, Laurent Durant, and Antoine-Claude Briasson, 1751–72.
In s3e60 of Platemark, podcast host Ann Shafer speaks with Ron Rumford, director of Dolan/Maxwell, a private gallery in Philadelphia. Dolan/Maxwell deals in 20th century art, with a particular specialty in the prints of Stanley William Hayter and the associated artists of Atelier 17, as well as Black artists of the same era, such as Bob Blackburn, Norma Morgan, Elizabeth Catlett, Ed Clark and more. While they could have spent the entire time talking about Hayter (they’ll get to that in the History of Prints series), Ron wanted to highlight an exhibition focused on Dox Thrash, which is on view at the African American Museum of Philadelphia through August 4, 2024.
They talk about Thrash and his invention of the carborundum mezzotint, Bob Blackburn’s Printmaking Workshop and its relationship to Atelier 17 and Hayter, the monumental importance of the WPA printmaking division, and Ballinglen, an artist residency and gallery founded by Peter Maxwell and Margo Dolan in Ballycastle, a tiny farming town in County Mayo, Ireland.
Dox Thrash (American, 1893–1965). Sunday Morning, c. 1939. Etching. Sheet: 12 5/8 x 10 5/8 in.; plate: 8 7/8 x 7 7/8 in. Metropolitan Museum of Art, New York.
L-R: Krishna Reddy, Stanley William Hayter, Robert Blackburn, and friend, 1980s, at Reddy’s studio.
Hayter at the press with lithography press behind him, Atelier 17 in New York.
Photo of Pennerton West with fellow artists including Augusta Savage and Norman Lewis.
Pennerton West (American, 1913–1965). Troll in the Grain, 1952. State proof; color etching and lithography. Image: 14 ¾ x 17 ¾ in. Dolan/Maxwell Gallery, Philadelphia.
Pennerton West (American, 1913–1965). Troll in the Grain, 1952. State proof; color etching and lithography. Image: 14 ¾ x 17 ¾ in. Dolan/Maxwell Gallery, Philadelphia.
Dox Thrash (American, 1893–1965). Georgia Cotton Crop, c. 1944–45. Carborundum mezzotint. Plate: 8 7/16 x 9 7/8 in.; sheet: 11 ¼ x 11 3/4. in. Dolan/Maxwell Gallery, Philadelphia.
Dox Thrash (American, 1893–1965). Ebony Joe, c. 1939. Lithograph. Sheet: 10 5/8 x 8 7/8 in. Saint Louis Art Museum, St. Louis.
Dox Thrash (American, 1893–1965). Octoroon (Study for a Lithograph), c. 1939. Brush and ink wash over graphite. Sheet: 16 7/8 x 12 ¼ in. Philadelphia Museum of Art, Philadelphia.
Dox Thrash (American, 1893–1965). Octoroon, c. 1939. Lithograph. Sheet: 22 13/16 x 11 9/16 in. Collection of John Warren, Philadelphia.
Dox Thrash (American, 1893–1965). Charlot, c. 1938–39. Carborundum mezzotint. Plate: 8 15/16 x 6 15/16 in. Dolan/Maxwell, Philadelphia.
Michael Gallagher (American, 1895–1965). Lackawanna Valley, 1938. Carborundum mezzotint. Plate: 7 3/8 x 12 11/16 in.; sheet: 9 3/8 x 14 in. Philadelphia Museum of Art, Philadelphia.
Hugh Mesibov (American, 1916–2016). Homeless, 1938. Carborundum mezzotint. Plate: 5 3/8 x 10 3/8 in. Pennsylvania Academy of Fine Arts, Philadelphia.
Dox Thrash (American, 1893–1965). One Horse Farmer, c. 1944–48. Carborundum mezzotint. 9 x 6 in. National Museum of American History, Smithsonian Institution, Washington, D.C.
John Ruskin (British, 1819–1900). The Garden of San Miniato near Florence, 1845. Watercolor and pen and black ink, heightened with whie gouache, over graphite. Sheet: 13 7/16 x 19 3/8 in. National Gallery of Art, Washington, D.C.
Stanley William Hayter (English, 1901–1988). Cinq personnages, 1946. Engraving, softground etching, and scorper; printed in black (intaglio). Sheet: 495 x 647 mm. (19 1/2 x 25 1/2 in.); plate: 376 x 605 mm. (14 13/16 x 23 13/16 in.). Baltimore Museum of Art, Baltimore.
Stanley William Hayter (English, 1901–1988). Cinq personnages, 1946. Engraving, softground etching, and scorper; printed in black (intaglio), and green (screen, relief). Sheet: 460 x 660 mm. (18 1/8 x 26 in.); plate: 376 x 605 mm. (14 13/16 x 23 13/16 in.). Baltimore Museum of Art, Baltimore.
Stanley William Hayter (English, 1901–1988). Cinq personnages, 1946. Engraving and softground etching; printed in black (intaglio), orange (screen, relief), and purple (screen, relief). Sheet: 510 x 666 mm. (20 1/16 x 26 1/4 in.); plate: 376 x 605 mm. (14 13/16 x 23 13/16 in.). Baltimore Museum of Art, Baltimore.
Stanley William Hayter (English, 1901–1988). Cinq personnages, 1946. Engraving, softground etching, and scorper; printed in black (intaglio), green (screen, relief), orange (screen, relief), and purple (screen, relief). Sheet: 488 x 668 mm. (19 3/16 x 26 5/16 in.); plate: 376 x 605 mm. (14 13/16 x 23 13/16 in.). Baltimore Museum of Art, Baltimore.
Ballinglen Arts Foundation, Ballycastle, County Mayo, Ireland.
USEFUL LINKS
Imprint: Dox Thrash, Black Life, and American Culture. African American Museum in Philadelphia, March 23–August 4, 2024.
https://www.aampmuseum.org/current-exhibitions.html
John Ittmann. Dox Thrash: An African American Master Printmaker Rediscovered. Philadelphia: Philadelphia Museum of Art, 2001. https://archive.org/details/doxthrashafrican00ittm
Dox Thrash House, Philadelphia: https://doxthrashhouse.wordpress.com/
Ballinglen Arts Foundation: https://www.ballinglenartsfoundation.org/fellowship/
Dolan/Maxwell’s IG: @dolan.maxwell
Ron’s IG account: @ron.rumford
Ron’s artist website: www.ronrumford.com
In s3e59, Platemark host Ann Shafer sits down with David Avery to talk shop. David is an etcher, who restrains his work in both size and palette, but manages to tackle big topics. His social commentary is stinging and remarkable in that it comes in such a small package. These etchings pack a punch.
Ann and David talk about absurdist literature, standing on the shoulders of giants (Dürer, Max Klinger, Della Bella), how prescient Goltzius’s Disgracers are, and how we could never have imagined the state of our politics—reality is outstripping our imaginations.
Cover image: Patricia Avery
Max Klinger (German, 1857–1920). Abduction (plate 9 from Paraphrase on the Finding of a Glove), 1881. Etching, drypoint, and aquatint on chine collé. Sheet: 18 15/16 x 26 in. Metropolitan Museum of Art, New York.
David Avery (American, born 1952). Obeliscolycny, 2013. Etching. Plate: 27 ¾ x 5 in.; sheet: 33 5/8 x 10 in. Courtesy of the Artist.
David Avery (American, born 1952). Safe, Clean, Cheap: Phaethon in the 21st Century, 2011. Etching. Plate: 6 x 6 in.; sheet: 11 x 12 in. Courtesy of the Artist.
David Avery (American, born 1952). Too Close to the Sun, 2013. Etching. Plate: 6 x 6 in.; sheet: 11 x 12 in. Courtesy of the Artist.
David Avery (American, born 1952). Running on Empty, 2016. Etching. Plate: 6 x 6 in.; sheet: 11 x 12 in. Courtesy of the Artist.
David Avery (American, born 1952). Mendacia Ridicula (The Wheel of Ixion), 2018. Etching. Plate: 6 x 6 in.; sheet: 12 x 11 in. Courtesy of the Artist.
Hendrick Goltzius (Dutch, 1558–1617). After Cornelis Cornelisz van Haarlem (Netherlandish, 1562–1638). The Four Disgracers, 1588. Engraving. Metropolitan Museum of Art, New York.
David Avery (American, born 1952). Ship of Fools (Das Narrenschiff), 2018.Etching. Plate: 14 ¼ x 7 ½ in. Courtesy of the Artist.
David Avery (American, born 1952). After the Deluge, 2022. Etching. Plate: 10 ½ x 7 ¾ in. Courtesy of the Artist.
David Avery (American, born 1952). Becalmed, 2023. Etching. Plate: 6 x 15 ¾ in.; sheet: 10 x 18 ¾ in. Courtesy of the Artist.
David Avery (American, born 1952). Concerning The Great Ship MOUR-DE-ZENCLE, 2016. Etching. Plate: 12 ¾ x 6 ¼ in.; sheet: 18 ¼ x 11 in. Courtesy of the Artist.
David’s galleries
https://www.inclusionsgallery.com/
https://www.warnockfinearts.com/david-avery
https://childsgallery.com/artist/david-avery/
In s3e59, Platemark host Ann Shafer continues talking to artists included in Print Austin’s 5x5 exhibition, juried by Myzska Lewis, a curator at Tandem Press. Second up is Anna Trojanowska, an artist and lithographer from Wroclaw, Poland. Anna creates collages made from lithographs, which she creates on a single marble slab in her garage studio. The works included in 5x5 seek to give the feeling of echolalia, a form of autism in which words and phrases are repeated over and over. That repetition is a central part of the collages and gives the feeling of uncontrolled reverberation.
Ann and Anna talk about falling in love with lithography, what it’s like to use marble instead of limestone, how the veins in marble wander as the stone is ground down, how to transfer sound into images, and the surprise technique she would turn to if she had to give up lithography.
Cover image by Marcin Simonides
Anna Trojanowska (Polish, born 1978). Echolalia_12, 2022. Carrara marble lithograph, collage. 16 x 12 in. Courtesy of the Artist.
Anna Trojanowska (Polish, born 1978). Echolalia_14, 2022. Carrara marble lithograph, collage. 16 x 12 in. Courtesy of the Artist.
Anna Trojanowska (Polish, born 1978). Echolalia_16, 2022. Carrara marble lithograph, collage. 16 x 12 in. Courtesy of the Artist.
Anna Trojanowska (Polish, born 1978). Echolalia_19, 2022. Carrara marble lithograph, collage. 16 x 12 in. Courtesy of the Artist.
Anna Trojanowska (Polish, born 1978). Echolalia_20, 2022. Carrara marble lithograph, collage. 16 x 12 in. Courtesy of the Artist.
Anna's website: https://litografia.pl/en/authors/
In s3e57, Platemark host Ann Shafer speaks with Karen Kunc, an artist who manipulates reduction woodcuts in an amazing and unique way. Karen is a retired professor from the University of Nebraska, and is owner of Constellation Studios in downtown Lincoln. At the studio, which opened ten years ago, Karen offers workshops, curates exhibitions, and makes her own work. The studio includes equipment for papermaking, book arts, letterpress, and other means of creating prints.
Karen’s work includes relief prints and artist books reflecting her signature nature-based lyrical abstraction. These images could be macro or micro: the biomorphic shapes could be aerial images of her native Nebraska, or the wiggles and squiggles could be forms held within our cells. Each print becomes a portal to an alternate reality, where the boundaries between the tangible and the intangible blur, inviting us to explore the complexities of our earthly domain.
This all sounds simple, but Karen’s process is anything but. She uses stencils, fingers, hands, brushes and any other tool to gain amazing transitions between forms. Plus, she intuitively solves compositional challenges as she goes. Karen is an artist's artist whose groundbreaking woodcuts will amaze and delight you.
Karen Kunc (American, born 1952). Array of Raressence, 2018. Woodcut. 72 x 26 in. Courtesy of the artist.
Karen Kunc (American, born 1952). Coral Sanctuary, 2019. Woodcut. 72 x 26 in. Courtesy of the artist.
Karen Kunc (American, born 1952). Blue Cascade, 2020. Woodcut. 14 1/2 x 42 in. Courtesy of the artist.
Karen Kunc (American, born 1952). Gatherings, 2021. Woodcut. 14 x 29 in. Courtesy of the artist.
Karen Kunc (American, born 1952). Distillation, 2018. Woodcut, etching, pochoir, and watercolor. 12 x 24 in. Courtesy of the artist.
Karen Kunc (American, born 1952). Sacred Allegori, 2018. Woodcut, etching, pochoir, and watercolor. 24 x 24 in. Courtesy of the artist.
Karen Kunc (American, born 1952). Drifts of Ice & Gold, 2022. Woodcut. 17 x 56 in. Courtesy of the artist.
Karen Kunc (American, born 1952). Blooms of the Present Moment, 2023. Woodcut. 17 x 56 in. Courtesy of the artist.
Karen Kunc (American, born 1952). Waves of Riches, 2016. Woodcut and pochoir. 13 1/2 x 57 in. Courtesy of the artist.
Karen Kunc (American, born 1952). Panoply, 2016. Woodcut and pochoir. 13 1/2 x 57. Courtesy of the artist.
Karen Kunc (American, born 1952). Verse from Macrocosmica, 2010. Woodcut. 29 x 24 in. Courtesy of the artist.
Karen Kunc (American, born 1952). Release, 2020–21. Accordion-folded volume with etching, woodcut, and letterpress on various Japanese Nishinouchi papers. Closed: 7 x 4 in.; open: 7 x 56 in. Published by Blue Heron Press at Constellation Studios, Lincoln, Nebraska. Courtesy of the artist.
Karen Kunc (American, born 1952). The Way of Water, 2024. Accordion-folded volume with woodcut and letterpress on Japanese Nishinouchi. Closed: 11 x 7 1/2 in.; open: 11 x 45 in. Courtesy of the artist.
Karen Kunc (American, born 1952). Incessant White Noise, 2013. Accordion-folded volume with woodcut and letterpress on Japanese Nishinouchi. Closed: 11 x 5 in; open: 11 x 35 in. Courtesy of the artist.
Constellation Studios, Lincoln, NE.
In s3e56, Platemark host Ann Shafer introduces a five-part miniseries with the artists in 5X5, an exhibition that was part of PrintAustin 2024. First up is Briar Craig, one of five artists selected for inclusion in 5X5 by juror J. Myszka Lewis, curator at Tandem Press, University of Wisconsin–Madison. Briar is an artist and professor at University of British Columbia, Kelowna. He primarily works in screenprint, using found text and surprising juxtapositions. Ann and Briar talk about words and their unlikely combinations, Dada poetry, UV screenprints, his favorite color, and the only text-based tattoo that has tempted him so far.
Briar Craig (Canadian, born 1961). UTOPIAN VACUUM, 2017. UV screenprint. 40 x 28 in. Courtesy of the Artist.
Briar Craig (Canadian, born 1961). An Uncomfortable Situation Will Soon be Eased, UV screenprint. 40 x 28 in. Courtesy of the Artist.
Installation view of Briar Craig: README. January 29–April 17, 2022. Kelowna Art Gallery, Kelowna, BC, Canada.
Briar Craig (Canadian, born 1961). White Wash Privilege, 2014. UV screenprint. 40 x 28 in. Courtesy of the Artist.
Sam Gilliam (American, 1933–2022). 3 PM School Bus, 2018. Screenprint. 18 ½ x 51 ½. Published by Lily Press, Rockville, MD. All rights reserved. Courtesy of Lily Press.
Sam Gilliam (American, 1933–2022). 4 PM School Bus, 2018. Screenprint. 18 ½ x 51 ½. Published by Lily Press, Rockville, MD. All rights reserved. Courtesy of Lily Press.
Briar Craig (Canadian, born 1961). There Is Nothing You Can’t Do, 2017. Neon. 120 x 38 x 5 in. (305 x 97 x 12.5 cm.). Courtesy of the Artist.
USEFUL LINKS
Briar’s website www.briarcraig.com
Briar’s video about printing White Wash Privilege https://youtu.be/o-NCS2IwSGc?si=0b_PoHveHf98RvFN
In s3e55, Platemark host Ann Shafer speaks with Miguel A. Aragón, artist and professor at the City University of New York, Staten Island. They talk about CNC routers, drills as woodcutting tools, growing up in Juarez, Mexico, and that city’s war on drugs as a subject in his art. He weaves a tight conceptual circle in prints that explore violence, death, perception, and memory in surprisingly subtle works.
Miguel A. Aragón (Mexican, born 1978). Espectadores (Spectators), from the series Meoria Fracturada, 2013. Burnt residue embossment. 11 x 15 in. Courtesy of the artist.
Miguel A. Aragón (Mexican, born 1978). Retrato 18, negro (Portrait 18, black), 2008. Hand-drilled paper with drywall dust. 96 x 48 in. Courtesy of the Artist.
Miguel A. Aragón (Mexican, born 1978). Retrato 18, negro (Portrait 18, white), 2008. Hand-drilled paper. Each: 96 x 48 in. Courtesy of the Artist.
Miguel A. Aragón (Mexican, born 1978). Retrato 06, panel de yeso (Portrait 06, drywall). Hand-drilled drywall. 96 x 48 in. Courtesy of the Artist.
Miguel A. Aragón drilling into drywall for the Retrato series.
Miguel A. Aragón (Mexican, born 1978). Retrato 06, panel de yeso (Portrait 06, drywall). Hand-drilled drywall. 96 x 48 in. Courtesy of the artist. Miguel A. Aragón (Mexican, born 1978). Aplacado (el Veladero) [Appeased (el Veladero)], 2016. Woodcut. Image: 48 x 36 in.; sheet: 51 ½ x 38 ½ in. Published by Flatbed Press, Austin.
Miguel A. Aragón working at Kala Art Institute in Berkeley, CA.
Miguel A. Aragón working at Scuola Internazionale di Grafica di Venezia in Venice, Italy.
Miguel A. Aragón working at Zygote Press in Cleveland, OH.
Miguel A. Aragón working with Wuon Gean Ho at East London Printmakers.
Studio view of the Edinburgh Printmakers in Edinburgh, Scotland.
Studio view of the Glasgow Print Studio in Glasgow, Scotland
Studio view of the Grafikwerkstatt Dresden in Dresden, Germany.
Michael Barnes working at the Steindruck München Lithografie-Werkstatt in Munich, Germany.
Miguel A. Aragón’s mother’s doilies at the Morgan Conservatory in Cleveland, OH.
Miguel A. Aragón. 26.06.2009, 20:07:31. Color lithograph. Sheet: 27.5 x 22 in. Published by Flatbed Press, Austin.
Miguel A. Aragón. Index: 2170. Color lithograph. Sheet: 27 1/2 x 22 in. Published by Flatbed Press, Austin.
Installation shot of Miguel Aragón: Holding it all Gently. February 13–March 14, 2024. College of Staten Island, City University of New York, Staten Island.
Installation shot of Miguel Aragón: Holding it all Gently. February 13–March 14, 2024. College of Staten Island, City University of New York, Staten Island.
Installation shot of Miguel Aragón: Holding it all Gently. February 13–March 14, 2024. College of Staten Island, City University of New York, Staten Island.
In s3e54, Platemark host Ann Shafer talks with Andrew Raftery, artist, professor, scholar, and wallpaper designer. Andrew works in several modes, most notably in engraving. The through line in the work is domesticity. An early print featured a young man suit shopping. Next was a portfolio of engravings detailing rooms during a real estate open house. Then engravings representing each month in the life of a garden were transferred to twelve dinnerplates and sold as a set. His latest show included watercolors depicting historical interior rooms that feature French and Chinese wallpapers. He also produces letterpress wallpapers himself.
Ann and Andrew talk about how engraving shows itself completely—there is no secret to how it is made, the inscrutability of Vermeer’s paintings, the importance of understanding the history of prints, how the transfer process works with ceramic dinnerware, how French and Chinese wallpapers were made (some were hand painted!), and hatboxes.
Images of Andrew's art are by Erik Gould; Andrew's headshot is by Ned Lochaya. Andrew is represented by Mary Ryan Gallery.
Andrew Raftery (American, born 1962). Human Resources, 1990s. Engraving (unfinished). Courtesy of the artist.
Andrew Raftery (American, born 1962). Cosmetic Counter, 1990s. Exterior of folding triptych. Courtesy of the artist.
Andrew Raftery (American, born 1962). Cosmetic Counter, 1990s. Interior of folding triptych. Courtesy of the artist.
Andrew Raftery (American, born 1962). Suit Shopping: An Engraved Narrative, 2002. Diptych, engraving. Courtesy of the artist.
Andrew Raftery (American, born 1962). Suit Shopping: An Engraved Narrative, 2002. Triptych, engraving. Courtesy of the artist.
Andrew Raftery (American, born 1962). Scene 1 (living room)from the portfolio Open House, 2008. Engraving. Courtesy of the artist.
Andrew Raftery (American, born 1962). Scene 2 (dining room) from the portfolio Open House, 2008. Engraving. Courtesy of the artist.
Andrew Raftery (American, born 1962). Scene 3 (kitchen) from the portfolio Open House, 2008. Engraving. Courtesy of the artist.
Andrew Raftery (American, born 1962). Scene 4 (hallway) from the portfolio Open House, 2008. Engraving. Courtesy of the artist.
Andrew Raftery (American, born 1962). Scene 5 (bedroom) from the portfolio Open House, 2008. Engraving. Courtesy of the artist.
Andrew Raftery (American, born 1962). January (recto) from the set Autobiography of a Garden on Twelve Engraved Plates, 2009–16. Earthenware dinner plate with transferred engraving. Courtesy of the artist.
Andrew Raftery (American, born 1962). January (verso) from the set Autobiography of a Garden on Twelve Engraved Plates, 2009–16. Earthenware dinner plate with transferred engraving. Courtesy of the artist.
Andrew Raftery (American, born 1962). February from the set Autobiography of a Garden on Twelve Engraved Plates, 2009–16. Earthenware dinner plate with transferred engraving. Courtesy of the artist.
Andrew Raftery (American, born 1962). March from the set Autobiography of a Garden on Twelve Engraved Plates, 2009–16. Earthenware dinner plate with transferred engraving. Courtesy of the artist.
Andrew Raftery (American, born 1962). April from the set Autobiography of a Garden on Twelve Engraved Plates, 2009–16. Earthenware dinner plate with transferred engraving. Courtesy of the artist.
Andrew Raftery (American, born 1962). May from the set Autobiography of a Garden on Twelve Engraved Plates, 2009–16. Earthenware dinner plate with transferred engraving. Courtesy of the artist.
Andrew Raftery (American, born 1962). June from the set Autobiography of a Garden on Twelve Engraved Plates, 2009–16. Earthenware dinner plate with transferred engraving. Courtesy of the artist.
Andrew Raftery (American, born 1962). July from the set Autobiography of a Garden on Twelve Engraved Plates, 2009–16. Earthenware dinner plate with transferred engraving. Courtesy of the artist.
Andrew Raftery (American, born 1962). August from the set Autobiography of a Garden on Twelve Engraved Plates, 2009–16. Earthenware dinner plate with transferred engraving. Courtesy of the artist.
Andrew Raftery (American, born 1962). Study for August from the set Autobiography of a Garden on Twelve Engraved Plates, 2009–16. Pen and ink. Courtesy of the artist.
Andrew Raftery (American, born 1962). September from the set Autobiography of a Garden on Twelve Engraved Plates, 2009–16. Earthenware dinner plate with transferred engraving. Courtesy of the artist.
Andrew Raftery (American, born 1962). October from the set Autobiography of a Garden on Twelve Engraved Plates, 2009–16. Earthenware dinner plate with transferred engraving. Courtesy of the artist.
Andrew Raftery (American, born 1962). Figure model for October from the set Autobiography of a Garden on Twelve Engraved Plates, 2009–16. Courtesy of the artist.
Andrew Raftery (American, born 1962). November from the set Autobiography of a Garden on Twelve Engraved Plates, 2009–16. Earthenware dinner plate with transferred engraving. Courtesy of the artist.
Andrew Raftery (American, born 1962). December from the set Autobiography of a Garden on Twelve Engraved Plates, 2009–16. Earthenware dinner plate with transferred engraving. Courtesy of the artist.
Installation shot of Autobiography of a Garden on Twelve Engraved Plates, 2009–16, at Mary Ryan Gallery. Courtesy of the artist.
Clare Leighton (American, 1898–1989). New England Industries, c. 1952. Set of twelve dinner plates. Live Auctioneers.
Paul Scott (British, born 1953). Gardens of Lyra, 2020. Set of dinnerware produced for Fortnum and Mason.
Andrew Raftery (American, born 1962). Winter: Weeds, 2019. Letterpress printed wallpaper. Courtesy of the artist.
Installed Winter wallpaper.
Andrew Raftery (American, born 1962). Spring: Irises, 2019. Letterpress printed wallpaper. Courtesy of the artist.
Installed Spring wallpaper.
Andrew Raftery (American, born 1962). Summer: Scutellarioides, 2019. Letterpress printed wallpaper. Courtesy of the artist.
Andrew Raftery (American, born 1962). Autumn: Amaranths, 2019. Letterpress printed wallpaper. Courtesy of the artist.
Installed Autumn wallpaper.
Andrew Raftery (American, born 1962). Green Wall, 2019. Letterpress printed wallpaper. Courtesy of the artist.
Installed Green Wall wallpaper.
Andrew Raftery and Dan Wood printing wallpaper.
Working materials for wallpaper.
Working materials for wallpaper.
Andrew Raftery’s studio.
Winterthur, Garden & Library, Delaware.
Andrew Raftery (American, born 1962). Winterthur, Baltimore Drinking Room with Chinese hand-painted paper, artists unknown, 2022. Watercolor over lithograph. Courtesy of the artist. And the artist working in situ.
Corliss-Carrington House, Providence.
Andrew Raftery (American, born 1962). Corliss-Carrington House, Providence, East Parlor with Chinese hand-painted paper, artists unknown, 2023. Watercolor over lithograph. Courtesy of the artist.
Andrew Raftery (American, born 1962). Corliss-Carrington House, Providence, Telemachus on the Island of Calypso by Dufour: Garden of Calypso, 2022. Watercolor over lithograph. Courtesy of the artist.
Andrew Raftery (American, born 1962). Winterthur, Philadelphia Bedroom with Chinese hand-painted paper, artists unknown, 2022. Watercolor over lithograph. Courtesy of the artist.
Andrew Raftery (American, born 1962). Private Residence, Delaware, Zuber’s View of North America, 2023. Watercolor over lithograph. Courtesy of the artist.
Handicraft Club, Providence.
Andrew Raftery (American, born 1962). Handicraft Club, Providence, Great Tiger Hunt of India, 2023. Watercolor over lithograph. Courtesy of the artist.
Andrew Raftery (American, born 1962). Handicraft Club, Providence, Great Tiger Hunt of India, 2023. Watercolor over lithograph. Courtesy of the artist.
Redwood Library, Newport.
Andrew Raftery (American, born 1962). Studies for Redwood Library, Newport, commission, 2024. Courtesy of the artist.
Andrew Raftery (American, born 1962). Studies for Redwood Library, Newport, commission, 2024. Courtesy of the artist.
Andrew Raftery (American, born 1962). Studies for Redwood Library, Newport, commission, 2024. Courtesy of the artist.
Andrew Raftery (American, born 1962). Powderhouse Bandbox, 2024. Courtesy of the artist.
Andrew Raftery (American, born 1962). Powderhouse Bandbox with open lid, 2024. Courtesy of the artist.
Andrew Raftery (American, born 1962). Monogrammist ASR’s Hatbox, 2024. Courtesy of the artist.
In s3e53 of Platemark, hosts Ann Shafer and Tru Ludwig conclude their conversation with Carol Wax, artist and author of The Mezzotint: History and Technique. Carol recently published the second edition of The Mezzotint, expanding greatly in every area from the 1990 first edition. As she tells us, there is a better break down of rocking the copper plates, and of inking and printing them, plus there are new chapters about printing papers and the history of the medium and how it fits in the greater history of prints.
They talk about the early history of mezzotint, whether one can over rock a plate, what happens when you do, and about Carol’s dislike of perspectival composition, all the machines and their personalities, and her dogs Cecil, the Weimaraner, and Delia, the new dog in her life. The conversation ran long, so the episode is split into two parts.
Carol Wax (American, born 1953). Singer I, 1984. Mezzotint. 11 ½ x 8 in. Courtesy of the artist. This was a beautiful tensile piece of copper (ground exact same way as Singer II, but totally different experience and different result).
Carol Wax (American, born 1953). Singer II, 1985. Mezzotint. 14 ½ x 7 3/4 in. Courtesy of the artist. This was a brittle copper – two of several state proofs illustrating process of solving technical problem and the finished state. This process led directly to historical research that resulted in my writing The Mezzotint: History and Technique.
John Martin (British, 1789–1854). Belshazzar’s Feast, 1826. Mezzotint. Plate: 23 ½ x 32 in. Metropolitan Museum of Art, New York. Martin’s large plate was printed with up to eight different inks to enhance the tonal range and compensate for the peculiarities of mezzotints engraved on steel.
Richard Earlom (British, 1743–1822), after Frans Snyder (Flemish, 1579–1657). A Game Market, 1783. Mezzotint and etching. Plate: 16 ½ x 22 ¾ in. New York Public Library, New York.
Richard Earlom (British, 1743–1822), after Jan van Huysum (Dutch, 1682–1749). A Flower Piece, 1778. Etching (early state before mezzotint). Plate: 558 x 420 mm. (21 15/16 x 16 9/16 in.). Yale Center for British Art, New Haven.
[Right] Richard Earlom (British, 1743–1822), after Jan van Huysum (Dutch, 1682–1749). A Flower Piece, 1778. Mezzotint and etching. Plate: 558 x 420 mm. (21 15/16 x 16 9/16 in.). Baltimore Museum of Art, Baltimore.
J.M.W. Turner (British, 1775–1851) and Charles Turner (British, 1774–1857). Scene from the French Coast (Liber Studiorum, plate 4), 1807. Etching and mezzotint. Plate: 20.9 x 29.1 cm. (8 ¼ x 11 7/16 in.). Art Institute of Chicago, Chicago.
[DETAIL] J.M.W. Turner (British, 1775–1851) and Charles Turner (British, 1774–1857). Scene from the French Coast (Liber Studiorum, plate 4), 1807. Etching and mezzotint. Plate: 20.9 x 29.1 cm. (8 ¼ x 11 7/16 in.). Art Institute of Chicago, Chicago.
Thomas Goff Lupton (British, 1791–1873), after Thomas Girtin (British, 1775–1802). Chelsea Reach, Looking toward Battersea, from the series Gems of Art, 1825. Mezzotint and engraving. Sheet: 260 x 341 mm. (10 1/4 x 13 7/16 in.); plate: 168 x 252 mm. (6 5/8 x 9 15/16 in.). Baltimore Museum of Art, Baltimore.
Carol Wax (American, born 1953). The Old Clothesline, 1983. Mezzotint. 11 x 11 in. Courtesy of the artist.
Carol Wax (American, born 1953). Fanfare, 1983. Mezzotint. 16 x 11 in. Courtesy of the artist. This was the first image I did with a mechanical subject and the first time I subtracted so much of the background.
Carol Wax (American, born 1953). Singer I, 1984. Mezzotint. 11 ½ x 8 in. Courtesy of the artist. This was a beautiful tensile piece of copper (ground exact same way as Singer II, but totally different experience and different result).
Carol Wax (American, born 1953). Under Wraps, 2008. Mezzotint. 16 x 20 in. Courtesy of the artist. One of many images of animate/inanimate objects. This series turns the table and uses fabric to objectify a living subject. This project is also an example of how different grounds can be used creatively: the plate was ground with an 85-gauge rocker, but the dog parts were scraped down and reground with a 120-gauge roulette to differentiate textures between fabric and fur. The whiskers were engraved with a burin.
Carol’s wall of inspiration.
[Left] Carol Wax (American, born 1953). Remington Noiseless, 1986. Mezzotint. 20 x 16 in. Courtesy of the artist. Remington Noiseless illustrates stylized shadows before working for Philip Pearlstein.
[Right] Carol Wax (American, born 1953). Remington Return, 1993. Mezzotint. 18 ½ x 24 1/2 in. Courtesy of the artist. Reflects Pearlstein’s influence as well as more sophisticated technique and confidence acquired while writing the book.
Carol Wax (American, born 1953). Glad Tidings, 1993. Two relief intaglio holiday cards. Each: 3 x 2 9/10 in. Courtesy of the artist.
Carol Wax (American, born 1953). Missing Peace, 2001. Relief intaglio. 5 x 1 1/2 in. Courtesy of the artist.
Carol Wax (American, born 1953). Fortune’s Fool, 2020. Gouache. 8 ¼ x 9 1/4 inches. Courtesy of the artist. This clown puppet represents Trump, seen here being devoured for lunch by the Chinese, and while he thinks he’s sticking it to their butt (the pencil sharpener from Chinatown), he’s only sharpening their strategies.
Carol Wax (American, born 1953). Butterfly Effect, 2018. Gouache. 22 x 14 in. Courtesy of the artist. The pulley is a commentary on our convoluted election system that is subject to all kinds of whims.
Carol Wax (American, born 1953). Rigged, 2018. Gouache. 20 x 24 in. Courtesy of the artist. This image is about how the system is rigged.
Carol Wax (American, born 1953). Underhanded, 2020. Gouache. 21 x 14 in. Courtesy of the artist. This image is about a few things (manipulation, power, etc.), but think “George Floyd.” The political undertones of my paintings have found their way into recent mezzotints.
Frederick Mershimer (American, born 1958). Various states of The Great Divide/42nd Street, 1994–97. Mezzotint. Mershimer is a master at making corrections/changes–the likes of which have not been seen since the 17th century. Here is a prime example where he seamlessly changed the focus of a print by removing and moving figures and reissued the plate with a [deservedly] different title.
USEFUL LINKS
Carol’s website https://www.carolwax.com/
Jennifer Melby’s link https://www.jennifermelby.com/
Conrad Graeber’s link https://conradgraeber.com/
In s3e52 of Platemark, hosts Ann Shafer and Tru Ludwig talk with Carol Wax, artist and author of The Mezzotint: History and Technique. Carol recently published the second edition of The Mezzotint, expanding greatly in every area from the 1990 first edition. As she tells us, there is a better break down of rocking the copper plates, and of inking and printing them, plus there are new chapters about printing papers and the history of the medium and how it fits in the greater history of prints.
They talk about the early history of mezzotint, whether one can over rock a plate, what happens when you do, and about Carol’s dislike of perspectival composition, all the machines and their personalities, and her dogs Cecil, the Weimaraner, and Delia, the new dog in her life. The conversation ran long, so the episode is split into two parts.
[Top] Carol Wax (American, born 1953). Eleven Shells, 1982. Mezzotint. 2 ¾ x 5 inches. Courtesy of the artist. First mezzotint I felt comfortable signing and which shows the influence of Hamaguchi.
{Bottom] Yozo Hamaguchi (Japanese, 1909–2000). Shells. Mezzotint.
John Raphael Smith (British, 1751–1812), after Henry Fuseli (Swiss, 1741–1825). The Weird Sisters (Shakespeare, MacBeth, Act 1, Scene 3), 1785. Mezzotint. Sheet: 18 1/16 x 21 7/8 in. (45.8 x 55.5 cm.). Metropolitan Museum of Art, New York.
[Left] John Raphael Smith (British, 1751–1812), after Sir Joshua Reynolds (British, 1723–1792). The Infant Jupiter, 1775. Mezzotint. Plate: 20 x 14 in. New York Public Library, New York.
[Right] Valentine Green (British, 1739–1813), after Sir Anthony Van Dyck (Flemish, 1599–1641). The Earl of Danby, 1775. Mezzotint. Sheet: 20 7/8 x 13 7/8 in. Chazen Museum of Art, University of Wisconsin, Madison.
Carol Wax. The Mezzotint: History and Technique (2nd Edition). Atglen, PA: Schiffer Publishing, 2023.
Hendrick Goltzius (Dutch, 1558–1617). After Cornelis Cornelisz van Haarlem (Netherlandish, 1562–1638). Icarus, from the series The Four Disgracers, 1588. Engraving. Sheet: 13 7/16 x 13 1/4 in. (34.2 x 33.7 cm.). Metropolitan Museum of Art, New York.
Ludwig von Siegen (German, 1609–after 1676). Amelia Elizabeth Landgravure of Hesse-Kassel, 1642. Mezzotint. Sheet: 16 7/16 x 11 15/16 in. (41.8 x 30.3 cm.). Metropolitan Museum of Art, New York.
Prince Rupert (German, 1619–1682). Head of the Executioner, 1662. Mezzotint. Cooper Hewitt, Smithsonian Institution, New York.
Theodor Caspar von Fürstenburg (German, 1615–1675). Salomé, 1656–75. Mezzotint. 191 x 149 mm. British Museum, London.
David Lucas (British, 1802–1881), after John Constable (British, 1776–1837). The Rainbow, Salisbury Cathedral, 1855. Mezzotint. Sheet: 24 ¼ x 28 ¼ in. (61.5 x 71.7 cm.). Christie’s.
Thomas Frye (British, 1710/11–1762). Head of a Man Wearing a Turban, 1760. Mezzotint. Plate: 19 7/8 × 13 15/16 in. (50.5 × 35.4 cm.); sheet: 23 3/8 × 16 15/16 in. (59.4 × 43 cm.). Metropolitan Museum of Art, New York.
Valentine Green (British, 1739–1813), after Joseph Wright of Derby (British, 1734–1797). A Philosopher Shewing an Experiment on the Air Pump, 1769. Mezzotint. Plate: 19 × 23 in. (48.3 × 58.4 cm.). Sheet: 19 7/8 × 25 5/8 in. (50.5 × 65.1 cm.). Metropolitan Museum of Art, New York.
Joseph Pennell (American, 1857–1926). Hail America, 1908. Mezzotint. Plate: 8 7/16 × 14 11/16 in. (21.5 × 37.3 cm.); sheet: 9 7/8 × 15 3/4 in. (25.1 × 40 cm.). Metropolitan Museum of Art, New York.
Reynold Weidenaar (American, 1915–1985). The Bridge and the Storm, Mackinac Straits, 1957. Mezzotint. Sheet: 19 5/8 x 15 ½ in. Richard and Jane Manoogian Mackinac Art Museum, Mackinac.
Mario Avati (French, 1921–2009). Le Goût acide du jaune citron, 1982. Mezzotint. 29 x 37.7 cm. Fitch Febvrel Gallery.
Yozo Hamaguchi (Japanese, 1909–2000). The Three Lemons, 1956. Color mezzotint. Cleveland Museum of Art, Cleveland.
Art Werger (American, born 1955). Clarity, 2021. Mezzotint. 24 x 36 in. Courtesy of the artist.
Craig McPherson (American, born 1948). Memento Mori, 2013. Mezzotint. 13 5/8 x 16 ½ in. Courtesy of the artist.
Judith Rothchild (American, born 1950). Le nid, 2005. Mezzotint. 7 13/16 x 11 5/8 in. Annex Galleries, Santa Rosa.
Jacob Crook (American, born 1985). Nightrise II, 2019. Mezzotint. 8 ½ x 11 in. Courtesy of the artist.
Julie Niskanen (American, born 1983). Sanctuary, 2007. Mezzotint. Courtesy of the artist.
Charles Ritchie (American, born 1954). House II, 2012–19. Mezzotint. Plate: 6 x 3 7/8 in.; sheet: 13 ½ x 10 in. Courtesy of the artist.
J.M.W. Turner (British, 1775–1851) and Charles Turner (British, 1774–1857). Norham Castle on the Tweed (Liber Studiorum, part XII, plate 57), 1816. Etching and mezzotint. Plate: 7 x 10 5/16 in. (17.8 x 26.2 cm.); sheet: 8 1/4 x 11 1/2 in. (21 x 29.2 cm.). Metropolitan Museum of Art, New York.
Frank Short (British, 1857–1945), after J.M.W. Turner (British, 1775–1851). Liber Studiorum—Frontispiece, 1885. Etching and mezzotint. Plate: 124 x 185 mm. Tate, London.
EXTRA IMAGES
Carol Wax (American, born 1953). Type Face, 2002. Mezzotint. 9 ¼ x 9 ¼ inches. Courtesy of the artist. An example of (perhaps more than any other) anthropomorphizing subjects and the use of modulating, repeating patterns to suggest animation, as well as the humor and humanity I see in manufactured objects.
Carol Wax (American, born 1953). Sew What, 2022. Mezzotint. 20 x 12 inches. Courtesy of the artist. This was printed from two plates: a black-and-white key plate rocked with an 85-gauge rocker and a color plate ground selectively with roulettes and wiped selectively. These images demonstrate the dialogue between my current work in painting and mezzotint.
[Left] Carol Wax (American, born 1953). Pipe Dream, 2003. Mezzotint and engraving. Plate: 2 ½ x 1 ½ in. Courtesy of the artist.
[Right] Carol Wax (American, born 1953). Serpentdipity, 2003. Mezzotint. Plate: 2 ½ x 1 ½ in. Courtesy of the artist. These two show burin engraving through a mezzotint ground.
Carol Wax (American, born 1953). Binder Spiral, 2023. Graphite. 127 x 23 in. Courtesy of the artist.
USEFUL LINKS
Carol’s website https://www.carolwax.com/
Jennifer Melby’s link https://www.jennifermelby.com/
Conrad Graeber’s link https://conradgraeber.com/
In s3e51, Platemark host Ann Shafer talks with Chris Santa Maria, artist and gallery director at Gemini G.E.L. at Joni Moisant Weyl. As director of the New York gallery, Chris is responsible for showcasing and selling the print output of the storied LA workshop to enable it to keep working with amazing artists and producing incredible editions.
Chris and Ann touch on Gemini’s history, the structure of the workshop, how artists get to work there, and Julie Mehretu, Julie Mehretu, and Julie Mehretu. They also talk about Chris’ side hustle as an artist and his intricate paper collages.
Josef Albers. White Line Square IV, 1966. 53.3 x 53.3 cm (21 x 21 in.). 2011. The Josef and Anni Albers Foundation / Artists Rights Society (ARS), New York; ©Gemini G.E.L. and the Artist.
Chris Santa Maria wrangling prints at Gemini G.E.L. at Joni Moisant Weyl, New York.
Sidney Felsen, co-founder of Gemini G.E.L. Photo by Alex Berliner.
Gemini G.E.L. at Joni Moisant Weyl, 535 West 24th Street, third floor, New York. ©Gemini G.E.L., Los Angeles, California.
Chris Santa Maria hanging Julie Mehretu’s print at Art Basel Miami, 2019.
Julie Mehretu’s etching installed at the New York gallery, June 8–August 24, 2023. ©Gemini G.E.L., Los Angeles, California.
Julie Mehretu at work at Gemini G.E.L., Los Angeles. Photograph by Sidney B. Felsen. ©Gemini G.E.L., Los Angeles, California.
Julie Mehretu at work at Gemini G.E.L., Los Angeles. Photograph by Sidney B. Felsen. ©Gemini G.E.L., Los Angeles, California.
Analia Saban working at Gemini workshop. Photograph by Sidney B. Felsen. ©Gemini G.E.L., Los Angeles, California.
Robert Rauschenberg working on the limestone for Waves from the Stoned Moon series with Stanley Grinstein in the background. Photograph by Sidney B. Felsen, 1969. From the collection of Getty Research Institute.
Jasper Johns deleting imagery from a lithography plate for Cicada, November 1981. Photograph by Sidney B. Felsen. ©Gemini G.E.L., Los Angeles, California, 2001.
Richard Serra at work on his etchings and Paintstik compositions, November 1990. Photograph by Sidney B. Felsen. ©Gemini G.E.L., Los Angeles, California, 2001.
Ellsworth Kelly (left) and NGA curator Mark Rosenthal at Gemini; Ellsworth canceling a print from the Portrait Series, February 1990. Photograph by Sidney B. Felsen. ©Gemini G.E.L., Los Angeles, California, 2001.
Works by Richard Serra and Julie Mehretu at the IFPDA Print Fair, October 2023. ©Gemini G.E.L., Los Angeles, California.
Joni Weyl and Sidney Felsen at the 2019 IFPDA Print Fair, New York.
Tacita Dean at work at Gemini G.E.L., Los Angeles. Photograph by Sidney B. Felsen. ©Gemini G.E.L., Los Angeles, California.
Roy Lichtenstein at work at Gemini G.E.L., Los Angeles. Photograph by Sidney B. Felsen. ©Gemini G.E.L., Los Angeles, California.
Julie Mehretu at Gemini G.E.L.’s booth at the IFPDA Print Fair, October 2023.
Tacita Dean. LA Magic Hour 1, 2021. Hand-drawn, multi-color blend lithograph. 29 7/8 x 29 7/8 in. (75.88 x 75.88 cm). ©Gemini G.E.L., Los Angeles, California.
Chris Santa Maria. Field 31, 2023. Paper college on 4-ply ragboard. 10 x 10 in.
Chris Santa Maria’s studio.
Chris Santa Maria’s studio.
Chris Santa Maria. President Trump, 2020. Paper collage. 72 x 72 in.
Chris Santa Maria. No. 5, 2014. Paper collage on MDF. 58 x 60 in. in the window of Jim Kempner Fine Art, New York.
Ellsworth Kelly. The River (state), 2003 and River II, 2005. Lithographs. Installed during the exhibition Ellsworth Kelly: The Rivers, October 25–December 8, 2007 at Gemini G.E.L. at Joni Moisant Weyl, New York.
Julie Mehretu’s etchings installed at the New York gallery, June 8–August 24, 2023. ©Gemini G.E.L., Los Angeles, California.
Bruce Nauman in the curating room canceling a copperplate by drawing a sharp tool across it to destroy the image with assistance from William Padien, 1983. Photograph by Sidney B. Felsen. ©Gemini G.E.L., Los Angeles, California, 2001.
Julie Mehretu at work at Gemini G.E.L., Los Angeles. Photograph by Sidney B. Felsen. ©Gemini G.E.L., Los Angeles, California.
Works by Ann Hamilton and Tacita Dean in the exhibition at the New York gallery, Selected Works by Gemini Artists. January 2–February 24, 2024. ©Gemini G.E.L., Los Angeles, California.
Daniel Buren at Gemini workshop, August 1988. Photograph by Sidney B. Felsen. ©Gemini G.E.L., Los Angeles, California, 2001.
USEFUL LINKS
Gemini G.E.L. at Joni Moisant Weyl. | (joniweyl.com)
Gemini G.E.L. Graphic Editions Limited (geminigel.com)
Chris Santa Maria
Instagram accounts
@chrisantamaria
@geminigel
@joniweyl
In s3e50, Platemark host Ann Shafer talks with Allison Tolman, a private dealer handling prints by contemporary Japanese artists. The Tolman Collection has branches in Tokyo and New York and works with a range of artists. Allison is a second-generation dealer—her father heads up the Tokyo branch while Allison is holding down the fort in New York. She enjoys personal relationships with her artists and is a tireless promoter of prints from the other side of the world.
Ann and Allison talk about cultural differences relating to aesthetics, manner of working, and business dealings. They also talk about managing a business without a bricks-and-mortar space and their love of this admittedly tiny corner of the art world.
SHINODA Toko (Japanese, 1913–2021). Awakening, 2017. Original painting. 24 3/4 x 40 1/2 in. The Tolman Collection of New York.
YAMAMOTO Kanae (Japanese, 1882–1946). Fisherman, 1904. Woodcut. 12 3/8 x 10 11/16 in. Cleveland Museum of Art, Cleveland.
HOKUSAI Katsushika (Japanese, 1760–1849). Under the Wave off Kanagawa, from the series Thirty-six Views of Mount Fuji, c. 1830–32. Woodblock print. 10 x 15 in. (25.4 x 38.1 cm.). Metropolitan Museum of Art, New York.
KAWAMURA Sayaka (Japanese, born 1990). I Dream of Floating, 2021. 27 5/8 x 27 5/8 in. The Tolman Collection of New York.
YOSHIDA Hadaka (Japanese, 1926–1995). Night (drops), 1954. Woodblock print. 16 x 10 7/8 in. (40.5 x 27.5 cm.). Scholten Japanese Art, New York.
KURODA Shigeki (Japanese, born 1953). Yellow Flow. Etching. 7 x 11 in. Gilbert Luber Gallery, Philadelphia.
KAWACHI Seiko (Japanese, born 1948). The Flying (Metropolitan Government-I), from the series One Hundred Views of Tokyo, Message to the 21st Century, 1989–99. Color woodblock print. 27 x 20 in. (68 x 50 cm.). Art Institute of Chicago, Chicago.
TAKAHASHI Hiromitsu (Japanese, born 1959). Blizzard of Blossoms, 2013. Stencil print. The Tolman Collection, Tokyo.
USEFUL LINKS
Artists | The Tolman Collection of New York
Japanese Woodblock Print Search - Ukiyo-e Search
What is an Original Print? | Print Council of America
Lucas Martineau. Takahashi Hiromitsu: The “DyEing” Art of Kappazuri, 2020.
Takahashi Hiromitsu “DyEing” Art of Kappazuri Lucas Martineau | Tolman Collection of Tokyo (tolmantokyo.com)
In s3e49, Platemark host Ann Shafer talks with Valpuri Remling, collaborative printer and manager of the pro workshop at Tamarind Institute, University of New Mexico, Albuquerque, which was established in 1960 by the legendary June Wayne in order to preserve and promote the art of lithography. Valpuri, a native of Rovaniemi in Finnish Lapland, graduated from the program in 2009. After working at Helsinki Litho with Matti Hintikka and Kalle Berg, Valpuri returned to Albuquerque in 2015 to assume the position of printer and workshop manager from Bill Lagattuta, Tamarind’s longtime collaborative printer. In her role, Valpuri collaborates with visiting artists, manages multiple publishing projects, and advises other workshops and manufacturing entities on best practices in lithography. Every year she directs the research of Tamarind apprentice printers and mentors the next generation of lithographers.
Ann and Valpuri talk about growing up on the Artic Circle, how the two Tamarind shops function side by side, research into new lithograph tools and techniques, the printshop ballet, collaborating with artists, being true to oneself, and the surprising opportunity for artists to have work printed at Tamarind by students.
Brandon Gunn, Tamarind Master Printer, Director of Education, and Professor of Practice.
Arikah Lynne, 2023–24 Apprentice Printer.
Brandon Gunn demonstrating a rainbow roll for a cohort.
Bill Lagattuta, Marjorie Devon, and Rodney Hamon.
Rodney Hamon and Bill Lagattuta with a cohort.
Alyssa Ebinger and Valpuri Remling in the pro shop.
Kylee Aragon Wallis, Gallery Director.
Tamarind founder June Wayne.
Garo Antreasian and Clinton Adams.
Diana Gaston, Director.
Marge Devon, retired Director.
Matti Hintikka, Valpuri Remling, and Kalle Berg at Helsinki Litho.
Adam Ostreicher. The Procession, 2007. 5-plate etching and aquatint.
Tru Ludwig. Ask Not…, 1997. Etching and aquatint, engraving, and softground etching. 36 x 24 in.
Tusche test stone.
Jeffrey Gibson (American, Mississippi Choctaw-Cherokee, born 1972). Mighty Real, 2021. Four-color lithograph. Sheet: 36 11/16 x 25 ¼ in. Published by Tamarind Institute; printed by Valpuri Remling and Lindsey Sigmon.
USEFUL LINKS
Tamarind Institute website: www.tamarind.unm.edu
Map to find Tamarind-trained shops and printers: www.tamarind.unm.edu/map/fatp_map.html#
Instagram accounts
@tamarindinstitute
@tamarindeducation
@valpuriremling
Other printmaking podcasts
Platemark
Hello, Print Friend
The Unfinished Print
NewsPrint Podcast
The Print Cast
All About Printmaking with Phil and Amy
In episode s3e48, Platemark host Ann Shafer speaks with Deb Chaney, Tamarind-trained master printer specializing in lithography. She has an eponymous imprint, Deb Chaney Editions and has started a new venture with Stéphane Guilbaud—D&S Fine Art Editions—to whom she is fairly recently married. They have studios in Upstate New York (studio to be built), Paris, and LaForce, France.
Ann and Deb talk about the beauty of litho stones, common problems that come with printing lithographs, why litho inks are more saturated than other types of inks, how the Tamarind program works, why printers are the nexus of the whole system, and the surprising differences between the print ecosystem in France versus the United States. Deb is a delight and super knowledgeable. You’ll learn more about the chemistry of lithography (adding to the history of litho we got from Michael Barnes in episode 25), and so much more.
Ethan Murrow (American, born 1975). Quietude, 2022. 4-color stone lithograph. 62 ½ x 47 in. Published by D&S Fine Art Editions.
Dasha Shishkin (American, born Moscow, 1977). 9 Pickles, 2020. Portfolio of 9 stone lithographs. Each: 16 x 12 in. Published by Deb Chaney Editions.
Deb Chaney sponging the stone for Dasha Shishkin’s lithograph Good Night and Good Luck, 2021.
Art Spiegelman (American, born Stockholm, 1948). Trump L'oeil, 2018. 7-color stone lithograph. 30 x 22 in. Published by MEL Publisher; printed by Deb Chaney Editions.
Beauvais Lyons (American, born 1957). Flea Circus, 2015. Lithograph. Hokes Archives, University of Tennessee, Knoxville.
Anita Jung (American, born 1960). Hole in the Sky, 2019. Acrylic on paper. 30 x 22 in.
A Model Workshop: Margaret Lowengrund and The Contemporaries. Curated by Lauren Rosenblum and Christina Weyl. September 21–December 23, 2023. Print Center New York, 535 West 24th Street.
Dread Scott and Jenny Polak at work in D&S Fine Art Editions’s studio, Paris.
Dread Scott (American, born 1964) and Jenny Polak (American, born 1974). Délivré, 2023. 8-color stone lithograph. 37 1/2 x 28 ½ in. (96 x 72 cm.). Published by D&S Fine Art Editions.
D&S Fine Art Editions’s studio in La Force, Bergerac, France.
Ethan Murrow at work in D&S Fine Art Editions’s studio.
Deb Chaney (American, born 1978). La Habana, 2014. Monotype collage. 20 x 32 in.
Publisher Spotlight: D&S Fine Art Editions. Installation at Print Center New York, 2023, featuring lithographs by Dread Scott and Jenny Polak, Ethan Murrow, and Dasha Shishkin.
Stéphane Guilbaud (left) and team in the D&S Fine Art Editions’s Paris studio.
The giant Voirin Press in D&S Fine Art Editions’s Paris studio with Ethan Murrow’s Quietude, 2022.
Leading off 2024’s series three episodes is s3e47 in which Platemark host Ann Shafer speaks with Adam McCoy, Senior Specialist in Fine Art, Rago Auctions. Adam has worked in various auction houses for many years, including Christies and Artsy. Ann relished the chance to pepper Adam with questions.
In the episode Adam and Ann talk about the business of the business including what to expect when you decide to sell something at auction, the vagaries of the market, the authentication process, the bidding process (by phone, online, or in person), the value of old school auction catalogues, and which of Picasso’s prints holds the record price.
Edvard Munch (Norwegian, 1863–1944). Madonna, 1895. Lithograph. Image: 600 x 440 mm.; sheet: 640 x 480 mm. Munch Museum, Oslo.
Pablo Picasso (Spanish, 1881–1973). Femme qui pleure, 1937. Drypoint, aquatint, and etching. plate: 27 3/16 x 19 ½ in. (69 x 49.5 cm.); sheet: 30 1/2 x 22 9/16 in. (77.4 x 57.3 cm.). Museum of Modern Art, New York.
Andy Warhol (American, 1928–1987). Marilyn, 1967. Portfolio of 10 screenprints. Each: 36 x 36 in. Robin Rile Fine Art, Miami.
Pablo Picasso (Spanish, 1881–1973). Rembrandt with a Palette, from the Vollard Suite, 1934, printed 1939. Etching. Plate: 10 15/16 x 7 13/16 in. (27.8 x 19.8 cm.); sheet: 17 9/16 x 13 7/16 in. (44.6 x 34.1 cm.). Metropolitan Museum of Art, New York.
Jasper Johns (American, born 1930). 0 through 9, 1960. Lithograph. Sheet: 69.9 x 54 cm (27 1/2 x 21 1/4 in.). National Gallery of Art, Washington, D.C.
Julie Mehretu (American, born Ethiopia, 1970). This Manifestation of Historical Restlessness, (from Robin's Intimacy), 2022. 10-panel etching/aquatint from 50 plates. Overall: 93 1/2 x 173 1/8 in. (237.49 x 439.74 cm.). Published by Gemini G.E.L., Los Angeles, CA.
Scott Kahn (American, born 1946). Ingersoll’s Branch, 1989, printed 2022. 26-color screenprint. Avant Arte.
Ursula von Rydinsvard (German, born 1942). CISZA, 2021-22. Cedar. 149 x 79 x 82 in.
George J. Stengel (American, 1872–1937). The Quarry, New Habor, Maine. Oil on canvas. 25 ¼ x 30 1.8 in. Questroyal Fine Art, New York.
Kate Reno Miller (American, 1874–1929). Sunlit Path, 1920. Oil on board. 11 x 14 in. Cincinnati Art Galleries.
Wharton Esherick Museum, Paoli, PA. (photo: Emma Lee, WHYY)
B.J.O. Nordfeldt (American, 1878–1955). The Skyrocket, 1906. Color woodcut. Image: 8 ¾ x 11 ¼ in. (22.2 x 28.6 cm.). Smithsonian American Art Museum, Washington, DC.
In s3e46, Platemark host Ann Shafer speaks with Reinis Gailitis, an engraver from Riga, Latvia. The magic of the internet is fully on display today. Without it, finding Reinis's work would have been challenging. But his self-portrait in the style of Claude Mellan's Holy Face, the one with a single line emanating from the subject's nose, is a marvel.
Ann and Reinis talk about how engraving is simultaneously the most simple and direct of techniques while being the most difficult. They talk about tricks and tools shared by artists thanks to the internet: how to transfer a drawing onto a shiny copper plate for engraving (thanks, Andrew Raftery), what recipe to use for a darkened paste to fill already carved lines to see progress (thanks, Lembit Lõhmus), choosing a non-toxic solvent and trying out a custom tube of ink (thanks, Ad Stijnman), about non-toxic electrolytic etching (thanks, Jason Scuilla). They talk about the pitfalls of selling Intagram-worthy art, why there's little-to-no printmaking culture in Latvia, and about how overdue we are for a severe magnetic storm that could wipe out electronic media, documents, art pointing to the importance of printed objects.
Reinis Gailitis (Latvia, born 1992). Illustration for Alphabet of Latvian Culture, 2019. Digital drawing.
Reinis Gailitis (Latvia, born 1992). Illustration for Alphabet of Latvian Culture, 2019. Digital drawing.
Reinis Gailitis (Latvia, born 1992). Illustration for Alphabet of Latvian Culture, 2019. Digital drawing.
Reinis Gailitis (Latvia, born 1992). Illustration for Alphabet of Latvian Culture, 2019. Digital drawing.
Reinis Gailitis (Latvia, born 1992). Illustration for Alphabet of Latvian Culture, 2019. Digital drawing.
Reinis Gailitis teaching engraving at the Art Academy, Riga, Latvia.
Reinis Gailitis’s plate with ink-paste in the engraved lines to help the artist see where they are.
Reinis Gailitis engraving the copper plate Face Of...
Reinis Gailitis (Latvian, born 1992). Engraved spiral perfection.
Halftone rake tool (intaglioprintmaker.com).
Unknown engraver after Jacob Matham (Dutch, 1571–1631) after Abraham Bloemaert (Dutch, 1564–1651). Landscape with the Parable of the Tares, 1605. Engraving. Sheet: 38 x 50.5 cm. British Museum, London.
[DETAIL] Unknown engraver after Jacob Matham (Dutch, 1571–1631) after Abraham Bloemaert (Dutch, 1564–1651). Landscape with the Parable of the Tares, 1605. Engraving. Sheet: 38 x 50.5 cm. British Museum, London.
Stanley William Hayter (English, 1901–1988). Cinq Personnages, 1946. Engraving and softground etching (trial proof prior to color additions). Baltimore Museum of Art, Baltimore.
Reinis Gailitis (Latvian, born 1992). Monoliths, 2022. Engraving.
Reinis Gailitis. Variations of lines via engraving, drypoint, and mezzotint.
Lembit Lõhmus (Estonian, born 1947). Ex Libris. Engraving.
Reinis Gailitis’s ink-paste.
Claude Mellan (French, 1598–1688). The Sudarium of Saint Veronica, 1649. Engraving. Plate : 16 7/8 x 12 3/8 in. (42.86 x 31.43 cm.); sheet: 17 7/8 x 13 3/8 in. (45.4 x 33.97 cm.). Minneapolis Institute of Art, Minneapolis.
Reinis Gallitis (Latvian, born 1992). Face of…, 2021. Engraving. Sheet: 30 x 22 cm.; plate: 25 x 18 cm.
Reinis Gailitis (Latvian, born 1992). Schematic for Face Of… engraving.
Albrecht Dürer (German, 1471–1528). Self-Portrait, 1500. Oil on panel. 67.1 × 48.9 cm. (26 1/3 × 19 1/3 in.). Bayerische Staatsgemäldesammlungen - Alte Pinakothek München.
Reinis Gallitis (Latvian, born 1992). Vortex, 2021. Engraving. Sheet: 44 x 34 cm.; plate: 40 x 29 cm.
Reinis Gailitis (Latvian, born 1992). Starship, 2021. Engraving and chine collé.
Reinis Gailitis (Latvian, born 1992). Work in Progress, 2023. Engraving.
Reinis Gailitis (Latvian, born 1992). Work in Dark, 2023. Engraving and linoleum cut on chine collé.
Reinis Gailitis (Latvian, born 1992). Work in Dark, 2023. Linoleum cut.
[DETAIL OF TRIAL PROOF] Reinis Gailitis (Latvian, born 1992). Work in Dark, 2023. Engraving.
Reinis Gailitis (Latvian, born 1992). Work in Dark, 2023. Engraving printed intaglio and relief with white areas hand wiped.
Reinis Gailitis (Latvian, born 1992). Inked engraving plate (black intaglio, blue relief, white hand wiped) for Work in Dark, 2023.
Reinis Gailitis (Latvian, born 1992). Fungi, 2023. Wood engraving. 9 x 11 cm.
Reinis Gailitis (Latvian, born 1992). Woodblock for Fungi, 2023. 9 x 11 cm.
Reinis Gailitis’s engraved woodblock for Fungi set in press.
Reinis Gailitis’s wood engraving, Fungi, being printed.
Anton Würth (German, born 1957). Dürer Übung-Dürer Practice, 2014. Engraving. 100 x 150 mm (3 7/8 x 5 7/8 in.). C.G. Boerner, New York.
Lembit Lõhmus (Estonian, born 1947). Ex Libris in memoriam Richard Kaljo. Engraving.
Reinis Gailitis (Latvian, born 1992). Engraved patterns.
USEFUL LINKS
Reinis’s website: https://gailitis.berta.me/
Reinis’s prints are available for purchase on his Esty shop: https://www.etsy.com/shop/GailitisPrintmaking?ref=profile_header
Support Reinis through Patreon: https://www.patreon.com/gailitis
Short videos of engraving Work in Progress: https://www.youtube.com/shorts/NEjIeYYKyzk and https://www.youtube.com/shorts/DkEPD2qdB5U and https://www.youtube.com/shorts/3f_FihXoMxM
Short videos of engraving Face Of…: https://www.youtube.com/watch?v=GLYBCYGAh40 and https://www.youtube.com/watch?v=WPcFjpoWO4I and https://www.youtube.com/watch?v=3nwf_SzOJAk
Process video on the making of Vortex: https://www.youtube.com/watch?v=1OU9Uh8brzQ
Process video on the making of Starship: https://www.youtube.com/watch?v=bjgw_aUnwuk
Andrew Raftery demonstrates the art of engraving: https://www.youtube.com/watch?v=fQvghHs15hA&t=234s
In Platemark s3e45, host Ann Shafer talks with Bob Schneider, who is best known for his music but is a serious artist as well. You may know some of his best-loved songs like 40 Dogs (Like Romeo and Juliet), Honeypot, Deep Blue Sea, and Peaches, but you will be delighted to learn about his print output. These are gorgeous etchings primarily made with Katherine Brimberry at Flatbed Press in Bob's hometown, Austin, TX.
In the episode, Bob and Ann talk about all sorts of things including anxiety, AI, and creativity. Their discussion about creativity is fascinating: he's a surrealist at heart and subscribes to the idea that images emerge unbidden from his subconscious. In fact, he believes he is just cultivating things that are already there.
Numerous etchings by the artist are online at flatbedpress.com. As you look through them online, you can guess which one is in Ann's collection. His digital compositions, collages, and paintings are available at Yard Dog Gallery.
Bob plays a lot of live shows in Texas, including weekly Monday nights sets at Saxon Pub in Austin. He plays select shows in other places; check his website for tour dates near you. He's a consummate performer and is worth seeking out.
USEFUL LINKS
Bob’s website bobschneider.com
YouTube Music music.youtube.com/channel/UCfzxdvRc4RzUyYeQiIyHASQ
Spotify open.spotify.com/artist/4YOxTnmYogOpUPxrNTacvQ
Facebook facebook.com/bobschneidermusic
Instagram instagram.com/bob_schneider_music
X (Twitter) twitter.com/Bob_Schneider
FRUNK bobschneidermusic.bandcamp.com
Merch bobschneider.myshopify.com
Bob Schneider (American, born 1965). The Night Way, 2008–17. Etching. Plate: 29 x 22 ¼ in.; sheet: 45 x 34 ¾ in. Published by Flatbed Press, Austin.
Bob Schneider (American, born 1965). Atama, 2008. Etching. Plate: 26 7/8 x 24 3/8 in.; sheet: 43 ¾ x 34 ¾ in. Published by Flatbed Press, Austin.
Bob Schneider (American, born 1965). Lucretia, 2000. Etching. Plate: 18 x 24 in.; sheet: 22 x 30 in. Published by Flatbed Press, Austin.
Bob Schneider (American, born 1965). Woman, 2000. Etching and aquatint. Plate: 42 ½ x 30 in. Published by Flatbed Press, Austin.
Bob Schneider (American, born 1965) and Justin Barker (American, born 1979). Illustration for Bob’s graphic novel, FAYM.
Bob Schneider (American, born 1965) and Justin Barker (American, born 1979). Illustration for Bob’s graphic novel, FAYM.
Bob Schneider and Justin Barker at Saxon Pub, Austin, November 2023.
Bob Schneider (American, born 1965). We’re Never Really Sure if the Life We Live Here Belongs to Us. Digital print on Hahnemühle 100% cotton photo rag fine art paper. 21 x 15 ¾ in. Yard Dog Gallery, Austin.
Bob Schneider (American, born 1965). Abe II. Digital print on Hahnemühle 100% cotton photo rag fine art paper. 21 x 15 ¾ in. Yard Dog Gallery, Austin.
Bob Schneider (American, born 1965). Who Isn’t Born Again Into Heaven. Oil on canvas. 20 x 16 in. Yard Dog Gallery, Austin.
Bob Schneider (American, born 1965). Each Moment is a Place You’ve Never Been. Oil on canvas. 20 x 16 in. Yard Dog Gallery, Austin.
Digital art by AI and Bob Schneider for FRUNK, recordings of each of Bob’s performances.
Bob Schneider and Clint Wells’s podcast I’m OK, you’re OK; I’m not OK, you’re not OK.
Bob Schneider prints spread out at Flatbed Press, Austin.
There's often a ton of art in medical spaces, but who are the curators of those health system collections?
In s3e44, Platemark host Ann Shafer speaks with Naomi Huth, chief curator and director of the art collection for NYC Health + Hospitals. Held within the Arts in Medicine department, NYC Health + Hospitals has one of the largest public (non museum) art collections in New York City with more than 7,000 works of art, including a number of murals. Their goal is to make art accessible to the public and integrate the collection into healing environments across NYC Health + Hospitals’ eleven acute care hospitals, five nursing homes, six diagnostic and treatment centers, and more than seventy community-based primary care sites.
A major part of Naomi's job is to highlight the concepts of diversity and accessibility in collecting, collaboration, and mentoring emerging artists. She has focused on acquiring works by underrepresented artists to improve and diversify the collection as well as integrating diverse perspectives into the collection and fostering a better understanding of the issues of today through the lens of art.
We talk about how art can reduce stress, offer peace, and help both patients and their families and medical staff members find moments of respite in busy and intense spaces. It's different yet not from being a museum curator.
From 2012–2021, Naomi was the curator for the Joseph M. Cohen Family Collection, a large private collection with six locations around the United States. She has previously held curatorial positions at the New Museum, Museum of Arts and Design, Rubin Museum, and the de Young Museum. Naomi is a member of the Young Collectors Council acquisitions committee at the Guggenheim, the advisory board of the Center for Photography in Woodstock, Independent Curators International, and is an accredited member of the Appraisers Association of America. She earned her M.A. in Art History and Museum Studies from the City College of New York (CCNY) and her B.S. in Fashion Design and Art History from Drexel University.
William Palmer. Function of a Hospital, 1934. Mural. NYC Health + Hospitals/Elmhurst Hospital Center, Queens.
Georgette Seabrooke. Recreation in Harlem, 1936. Mural. NYC Health + Hospitals/Harlem Hospital Center, Manhattan.
Angel Garcia. The Shoulders of Legacy, 2021. NYC Health + Hospitals/Harlem, Manhattan.
Charles Alston. Man Emerging, 1969. Mural. NYC Health + Hospitals/Harlem Hospital Center, Manhattan.
Staff wellness room, NYC Health + Hospitals/Kings County, Brooklyn.
Linda LeKniff pastels in the pharmacy at NYC Health + Hospitals/Gotham Health, Morrisania, Bronx.
Andy Warhol print at NYC Health + Hospitals/Bellevue, Manhattan.
Oscar Lett. Origins and Today, 2019. Mural. NYC Health + Hospitals/Kings County, Brooklyn.
Kristy McCarthy. Together We Heal, 2023. Mural located in the waiting room of the pediatric emergency department at NYC Health + Hospitals/South Brooklyn Health, Brooklyn.
Fernando “Ski” Romero and Modesto Flako Jimenez. Guns Down, Life Up, 2023. NYC Health + Hospitals/Lincoln Hospital, Bronx.
Fernando “Ski” Romero and Modesto Flako Jimenez. Guns Down, Life Up, 2023. NYC Health + Hospitals/Lincoln Hospital, Bronx.
Keith Haring. 1986 mural at NYC Health + Hospitals/Woodhull, Brooklyn.
USEFUL LINKS
NYC Health + Hospitals Arts in Medicine department: https://www.nychealthandhospitals.org/artsinmedicine/
NYC Health + Hospitals Arts in Medicine art collection: https://www.nychealthandhospitals.org/artsinmedicine/art-collection/
NYC Health + Hospitals Arts in Medicine programs:
https://www.nychealthandhospitals.org/artsinmedicine/programs/
NYC Health + Hospitals Arts in Medicine Bloomberg Connects app:https://www.nychealthandhospitals.org/artsinmedicine/programs/#artsInMedicineMobileApp
Naomi Huth’s IG: https://www.instagram.com/naomi__huth/
In s3e43, Platemark host Ann Shafer talks with Craig Zammiello, an artist and collaborative printer with over 40 years of experience in all areas of printmaking. He worked for 25 years at Universal Limited Art Editions, where he collaborated with numerous artists, including Jasper Johns, Elizabeth Murray, James Rosenquist, Kiki Smith, and Robert Rauschenberg. Currently, he is a collaborative printer at Two Palms working with Mel Bochner, Ellen Gallagher, Chris Offili, Elizabeth Peyton, and Dana Schutz. He is author of a studio manual on photogravure, as well as Conversations from the Print Studio published by Yale University Press.
Ann and Craig talk about Woodburytypes, working with Robert Rauschenberg at ULAE, and helping Matthew Barney grow copper nodules on a Woodburytype and then gold plating them. They talk about Craig’s transition to Two Palms and how that studio works outside of the traditional print studio model. Find out about a lifelong interest of Craig’s that has resulted in his collection being acquired by the American Museum of Natural History (no, it’s not prints), and what band would he most like to join on tour.
Zammiello received an MFA from The State University of New York, Stony Brook in 1995. He is currently Adjunct Faculty at the School of the Arts at Columbia University. Zammiello has taught workshops and classes at New York University, Yale University, The Robert Blackburn Printmaking Workshop and the Flemish Center for the Graphic Arts in Belgium.
Episode image: Elizabeth Zammiello
Matthew Barney (American, born 1967). In Vain Produced, All Rays Return, Evil Will Bless, and Ice Will Burn, 2015. Set of 4 Woodburytype prints on copper with electro-formed copper, nickel and 24 carat gold, in red oak frames. Framed dimensions: 11 1/2 x 15 ½ in. Printed by F-Zero Project and published by Two Palms, New York.
Lead printing plate for Brad by Chuck Close (American, 1940–2021). 9x12 in.
The finished Woodburytype print for Brad, Chuck Close (American, 1940–2021), with the ink overflow around the edges. 11x14 inches. Published by Two Palms, New York.
R. Crumb (American, born 1943). Keep on Flushin’, 2022. Etching. Sheet: 13 ½ x 11 ½ in. Printed by Craig Zammiello and published by Two Palms, New York.
Mel Bochner (American, born, 1940). Is This It?, 2023. Cast and pigmented paper. 69 ¾ x 67 ¼ x 5 5/8 in. Published by Two Palms, New York.
Lee Bontecou (American, 1931–2022). Ninth Stone, 1965–68. Lithograph in 1 color on Chatham British paper. 20 x 25 in. (50.8 x 63.5 cm.). Published by Universal Limited Art Editions, Bayshore, New York.
Robert Rauschenberg (American, 1925–2008). Wall-Eyed Carp/ROCI JAPAN, 1987. Acrylic and fabric collage on canvas. 203.2 x 617.2 cm (80 x 243 in.). National Gallery of Art, Washington, D.C.
Lisa Hodermarsky and Craig Zammiello. Conversations from the Print Studio: A Master Printer in Collaboration with Ten Artists. New Haven: Yale University Art Gallery, 2012.
USEFUL LINKS
Craig Zammiello's video on photogravure techniques: https://www.youtube.com/watch?v=t3HAoyIsrDY
Craig’s website: https://www.zammiello.com/
IG: @craigzammiello
In s3e42, Platemark host Ann Shafer talks with Lauren Rosenblum and Christina Weyl about their exhibition on view at Print Center New York through December, 23, 2023. A Model Workshop: Margaret Lowengrund and The Contemporaries is the first exhibition to explore the legacy of Lowengrund (1902–1957), a visionary artist-advocate and entrepreneur.
In charting the institutional history of the hybrid print workshop-gallery she founded, The Contemporaries, and its later evolution into Pratt Graphic Art Center, A Model Workshop brings into focus the bustling printmaking scene of 1950s New York and reveals Lowengrund's impact on postwar printmaking.
A Model Workshop: Margaret Lowengrund and The Contemporaries is curated by Lauren Rosenblum and Christina Weyl. It is on view September 21–December 23, 2023, at Print Center New York, 535 West 24th Street.
Maurice Berezov, Margaret Lowengrund at The Contemporaries, c. 1952–55. Woodstock Artists Association and Museum Archives. © Maurice Berezov Photograph Copyright A.E. Artworks, LLC. Image courtesy Woodstock Artists Association and Museum Archives, Woodstock, New York.
A Model Workshop: Margaret Lowengrund and The Contemporaries. Curated by Lauren Rosenblum and Christina Weyl. September 21–December 23, 2023. Print Center New York, 535 West 24th Street.
The Contemporaries Graphic Art Centre, c. 1954. 959 Madison Ave, New York.
The Contemporaries Gallery of Sculpture and Graphic Art, 992 Madison Avenue at 77th Street, New York, 1955. Photo by Robert Delson.
The Contemporaries Graphic Art Centre, c. 1955–56. 1343–45 3rd Ave, New York.
The Pratt Graphic Art Center, c. 1959. 795 Broadway, New York.
Stuart Davis (American, 1892–1964). Detail Study for Cliché, 1957. Lithograph. 15 3/4 × 18 3/8 in. (40 × 46.7 cm.). Printed by Arnold Singer at The Contemporaries Graphic Art Centre. Judd Foundation, New York. © Estate of Stuart Davis
Arthur Deshaies (American, 1920–2011). Hornet’s Nest, 1956. Plexi engraving. Image: 303 x 403 mm. National Gallery of Art, Washington, D.C.
Dean Meeker (American, 1920–2002). Trojan Horse, 1952. Screenprint. Sheet: 20 × 26 in. (50.8 × 66 cm.); image: 18 1/8 × 25 ¾ in. (46 × 65.4 cm.). Whitney Museum oof American Art, New York.
Fritz Eichenberg's Talk on His Trip to the Soviet Union with United States Information Agency, Graphic Arts Exhibit, 1963. Pratt Institute Archives, Pratt Institute Library.
Pratt Graphic Art Center, November 1962. Pratt Institute Archives, Pratt Institute Library.
[Installation shot] A Model Workshop: Margaret Lowengrund and The Contemporaries. Curated by Lauren Rosenblum and Christina Weyl. September 21–December 23, 2023. Print Center New York, 535 West 24th Street. Photo: Argenis Apolinario.
[Installation shot] A Model Workshop: Margaret Lowengrund and The Contemporaries. Curated by Lauren Rosenblum and Christina Weyl. September 21–December 23, 2023. Print Center New York, 535 West 24th Street. Photo: Argenis Apolinario.
[Installation shot] A Model Workshop: Margaret Lowengrund and The Contemporaries. Curated by Lauren Rosenblum and Christina Weyl. September 21–December 23, 2023. Print Center New York, 535 West 24th Street. Photo: Argenis Apolinario.
[Installation shot] A Model Workshop: Margaret Lowengrund and The Contemporaries. Curated by Lauren Rosenblum and Christina Weyl. September 21–December 23, 2023. Print Center New York, 535 West 24th Street. Photo: Argenis Apolinario.
[Installation shot] A Model Workshop: Margaret Lowengrund and The Contemporaries. Curated by Lauren Rosenblum and Christina Weyl. September 21–December 23, 2023. Print Center New York, 535 West 24th Street. Photo: Argenis Apolinario.
[Installation shot] A Model Workshop: Margaret Lowengrund and The Contemporaries. Curated by Lauren Rosenblum and Christina Weyl. September 21–December 23, 2023. Print Center New York, 535 West 24th Street. Photo: Argenis Apolinario.
Peter Lipman-Wulf (1905–1993). Man in the Moon, 1952. Lignum vitae. 24 ½ × 14 × 10 ½ in. Collection of Michael Henkel, East Hampton, NY.
USEFUL LINKS
A Model Workshop webpage. https://www.printcenternewyork.org/a-model-workshop
Christina’s book: The Women of Atelier 17. https://www.atelier17.christinaweyl.com/#content
Christina’s article: “Missing Archives: Worden Day and Women Modernists.” https://christinaweyl.com/projects/2019-09-aaaj/
Rockefeller Archive Center, Sleepy Hollow, NY. https://rockarch.org/
Christina’s IG: @christinaweyl
Lauren’s IG: @rosenbluuuum
In Platemark s3e41, host Ann Shafer talks with Susan Tallman, an art historian and essayist who co-founded the journal Art in Print and served as its editor for its entire run, 2011–2019. A regular contributor to New York Review of Books and The Atlantic Monthly, she has authored and co-authored many books, most recently No Plan At All: How the Danish Printshop of Niels Borch Jensen Redefined Artists Prints for the Contemporary World, as well as the new catalogue raisonné of prints by Kerry James Marshall.
Ann and Susan talk about the word "original" as an unhelpful term to describe fine art prints, last summer's blockbuster Vermeer exhibition at the Rijksmuseum in Amsterdam, Gerhard Richter's 2020 exhibition at the Metropolitan Museum in New York, and the state of the state of the print world. In the end you'll understand why Susan loves ambiguity in art.
William Kentridge (South African, born 1955). Triumphs and Laments: Mantegna, 2016–17. Relief printed from 13 woodblocks and 1 linoleum block. Overall: 76 ¾ x 78 3/8 (195 x 199 cm.). Published by David Krut Projects, Johannesburg, South Africa.
Julie Mehretu (American, born Ethiopia, 1970). Treatises on the Executed (from Robin’s Intimacy), 2022. 10-panel etching and aquatint from 50 plates. 93 1/2 x 173 1/8 in. (237.5 x 439.7 cm.). Gemini G.E.L., Los Angeles.
Edvard Munch (Norwegian, 1863–1944). The Vampire, 1895. color lithograph and woodcut with watercolor [trial proof]. sheet: 38.9 × 55.7 cm (15 5/16 × 21 15/16 in.). National Gallery of Art, Washington, D.C.
Susan Tallman. The Contemporary Print from Pre-Pop to Postmodern. London and New York: Thames and Hudson, 1996.
Jasper Johns (American, born 1930). Target, 1960. Lithograph. 12 1/16 x 12 3/16 in. (30.7 x 30.9 cm.); sheet: 22 13/16 x 17 13/16 in. (57.9 x 45.2 cm.). Published by ULAE. Museum of Modern Art, NY.
Jasper Johns (American, born 1930). Target, 1961. Encaustic and newpaper on canvas. 167.6 × 167.6 cm. (66 × 66 in.). Art Institute of Chicago, Chicago.
Susan Tallman. Kerry James Marshall: The Complete Prints. New York: Ludion/D.A.P., 2023.
Vermeer. Rijksmuseum, Amsterdam. February 10–June 4, 2023.
Johannes Vermeer (Dutch, 1632–1675). Allegory of the Catholic Faith, c. 1670–72. Oil on canvas. 45 x 35 in. (114.3 x 88.9 cm.). Metropolitan Museum of Art, New York.
Johannes Vermeer (Dutch, 1632–1675). Woman with Pearl Necklace, c. 1664. Oil on canvas. 55 × 45 cm. (21 5/8 × 17 3/4 in.). Gemäldegalerie, Staatliche Museen, Berlin.
Johannes Vermeer (Dutch, 1632–1675). Woman Holding a Scale, c. 1664. Oil on canvas. 42.5 x 38 cm (16 3/4 x 14 15/16 in.). National Gallery of Art, Washington, D.C.
Kouros, c. 530 B.C. Getty Museum, Los Angeles.
Calouste Gulbenkian Foundation, Lisbon.
Terra Cotta Warriors: Guardians of China’s First Emperor. National Geographic Museum, Washington, D.C. November 19, 2009–March 31, 2010.
Paolo Veronese (Italian, 1528–1588). The Wedding at Cana, 1563. Oil on canvas. 6.77 × 9.94 m (267 × 391 in.). Louvre Museum, Paris.
Paolo Veronese (Italian, 1528–1588). The Wedding at Cana, 1563. Factum Arte digital copy. 6.77 × 9.94 m (267 × 391 in.). San Giorgio Maggiore, Venice.
Rembrandt (Dutch, 1606–1669). The Hundred Guilder Print: Christ with the Sick around Him, c. 1648. Etching, drypoint, and engraving on Japanese paper. 280 x 394 mm. Rijksmuseum, Amsterdam.
Albrecht Dürer (German, 1471–1528). Knight, Death, and the Devil, 1513. Engraving. Sheet (trimmed to platemark): 9 5/8 x 7 1/2 in. (245 x 190 mm.). Metropolitan Museum of Art, New York.
Anonymous Andean painting hanging in Susan’s home.
Jan Wierix (Netherlandish, 1549–1615), after Martin de Vos (Netherlandish, 1532-1603). Annunciation, 1549-before 1585. Engraving. Plate: 265 × 197 mm. Rijksmuseum, Amsterdam.
Gerhard Richter: The Birkenau Paintings. Met Fifth Avenue. September 5, 2020–January 18 2021. Credit: Charlie Rubin for The New York Times.
Stanley William Hayter (British, 1901–1988). Père Lachaise from the portfolio Paysages urbains, 1930. Engraving and drypoint. Sheet: 283 × 381 mm. (11 1/8 × 15 in.); plate: 208 × 268 mm. (8 3/16 × 10 9/16 in.). Baltimore Museum of Art, Baltimore.
Edge of Visibility. IPCNY, New York. October 4–December 2018.
USEFUL LINKS
Susan's website: https://www.susan-tallman.com/
Art in Print on Jstor: https://www.jstor.org/journal/artprint
The Getty’s Paper Project: https://www.getty.edu/projects/paper-project/
New York Public Library. The Miriam and Ira D. Wallach Division of Art, Prints, and Photographs. https://www.nypl.org/locations/schwarzman/wallach-division/print-collection
Factum Arte: https://www.factum-arte.com/pag/38/a-facsimile-of-the-wedding-at-cana-by-paolo-veronese
In s3e40, Platemark host Ann Shafer talks with Luther Davis, master printer and director of Powerhouse Arts, Brooklyn. This is a two-parter. For this interview, Platemark collaborated with its sister podcast Hello, Print Friend. Miranda Metcalf, Hello, Print Friend’s host and creator interviewed Luther about his background and early career; Ann Shafer spoke with Luther about the present and future at Powerhouse Arts, a new non-profit arts center in a renovated transit power station on the Gowanus Canal in Brooklyn. Both Hello, Print Friend and Platemark’s episodes will be available on both podcast channels.
Luther has been in the biz for a long time and has great stories about the printing industry in Brooklyn. We talk about industrial printing and ask what the differences are between "art" and everything else. We talk about how important accessible shops are for artists to fabricate large projects (in addition to a print shop, Powerhouse has a ceramics studio, and a large sculpture fabrication shop). We talk about the state of print publishing today.
Luther has brought his prodigious experience to bear at Powerhouse Arts, a fairly new player in the field. He is taking the reigns of the Print Shop and running with it.
Episode image: Dana Zinsser.
Powerhouse Arts Print Shop, Brooklyn.
Pulled in Brooklyn, exhibition curated by Roberta Waddell and Samantha Rippner. IPCNY, April 4–June 15, 2019.
Industrial map of New York City showing manufacturing industries. New York Public Library. Printing industries are marked in orange.
Grand Hall, Powerhouse Arts, Brooklyn.
Powerhouse Arts Print Shop, Brooklyn.
Inaugural artist-in-residence Ivan Forde working at Powerhouse Arts Print Shop, Brooklyn.
Jasper Johns (American, born 1930). Leo from The Leo Castelli 90th Birthday Portfolio, 1997. Color etching. Plate: 17 11/16 × 11 13/16 in. (45 × 30 cm.); sheet: 36 13/16 × 27 in. (93.5 × 68.6 cm.). Published by Jean-Christoph Castelli; printed by Noblet Serigraphie. Museum of Modern Art, New York.
Ed Ruscha (American, born 1937). News from the portfolio News, Mews, Pews, Brews, Stews & Dues, 1970. Screenprint. Image: 18 1/16 x 27 1/16 in. (45.8 x 68.8 cm.); sheet: 23 1/16 x 31 7/8 in. (58.6 x 81 cm.). Published by Editions Alecto; printed by Alecto Studios. Museum of Modern Art, New York.
Peacock Visual Arts’ Risograph color chart.
Powerhouse Arts Print Shop, Brooklyn.
Printer Zaire Anderson coating screens for Avram Finkelstein’s Who Died. Powerhouse Arts Print Shop, Brooklyn.
With backs turned, left: Chris Kinsler; right: Dennis Hrehowsik. Facing camera, left: Zaire Anderson; right: Dana Zinsser. Powerhouse Arts Print Shop, Brooklyn.
Nellie Davis and Kyle Goen working on his giant rainbow roll at Powerhouse Arts Print Shop, Brooklyn.
Printer John Bartolo working on a screenprint by Aziz and Cucher at Powerhouse Arts Print Shop, Brooklyn.
Powerhouse Arts Print Shop, Brooklyn.
Powerhouse Arts Print Shop, Brooklyn.
Donald Baechler installation shot. Galerie Forsblom, 2014.
Kara Walker (American, born 1969). The Emancipation Approximation, 1999–2000. Portfolio of 26 screenprints. Sheet (each): 45 3/4 x 45 3/4 in (116.2 x 116.2 cm.). Published by Sikkema Jenkins Editions; printed by Jean Yves Noblet. Phillips Auctions, New York.
Fourth Estate www.fourthestate.com
Alex Dodge (American, born 1977). Unread Messages, 2017. Screenprint. 20 x 30 in. Haystack Editions.
USEFUL LINKS
Poster House www.posterhouse.org
Jungle Press Editions www.junglepress.com
Avant Arte www.avantearte.com
Radix Media & Graphics
NY Printing & Graphics www.nyprintinggraphics.com
Du-Good Press www.du-goodpress.com
Carousel’s Press www.carouselpress.com
Kayrock Screenprinting www.shop.kayrock.org
Bushwick Print Lab www.bushwickprintlab.org
Ulano Corp. www.ulano.com
KIWO Inc. www.kiwo.com
Guerra Paint & Pigment www.guerrapaint.com
Labor statistics on fine artists from the US Bureau of Labor Statistics https://www.bls.gov/oes/current/oes271013.htm#nat
In this bonus episode, Hello, Print Friend creator and guest host Miranda Metcalf talks with Luther Davis, master printer and director of Powerhouse Arts Print Shop, Brooklyn, about his background and early career. Powerhouse Arts is new player in the printing/publishing ecosystem and warrants extended conversation with its leader. This is a two-parter in which Miranda converses with Luther and then in another episode, Ann Shafer speaks with Luther about the present and future at Powerhouse Arts. Thanks to Platemark's sister pod Hello, Print Friend and Miranda for collaborating on this two-parter.
Both Hello, Print Friend and Platemark’s episodes are available on both podcast channels.
Platemark hosts Ann Shafer and Tru Ludwig offer up a bonus HoP episode featuring a conversation about a single work of art. Occasionally we will drop a BONUS EP ONE PRINT, which will take a single work and pull it apart with an eye toward exploring subject matter, technique, style, and composition. The first of these episodes features the etching Battlefield, 1907, by Käthe Kollwitz.
We hope this new kind of conversation resonates, and we’d love to hear your feedback and suggestions for other great prints worthy of a 90-minute episode.
Fun fact: Käthe is pronounced KAY-tuh, not Cathy; in Kollwitz, the W sounds like a V.
Episode image: Käthe Kollwitz (German, 1867–1945). Battlefield, no. 6 from the series Peasants War, 1907. Etching, drypoint, aquatint, sandpaper and softground etching. Plate: 16 ¼ x 20 7/8 in. (41.28 x 53 cm.). Käthe Kollwitz Museum, Cologne.
Pierre-August Renoir. (French, 1841–1919). Luncheon of the Boating Party, 1881. Oil on canvas, The Phillips Collection, Washington, D.C.
John Constable (English, 1776–1837). The Hay Wain, 1821. Oil on canvas. 130.2 × 185.4 cm. National Gallery, London.
Wassily Kandinsky (Russian, 1866–1944). Composition IV, 1911. Oil on canvas. 62.8 × 98.6 in. (159.5 × 250.5 cm.). Kunstsammlung Nordrhein-Westfallen, Düsseldorf.
Käthe Kollwitz (German, 1867–1945). Battlefield, no. 6 from the series Peasants War, 1907. Etching, drypoint, aquatint, sandpaper and softground etching. Plate: 16 ¼ x 20 7/8 in. (41.28 x 53 cm.). Käthe Kollwitz Museum, Cologne.
Jackson Pollock (American, 1912–1956). Number 1, 1950 (Lavender Mist), 1050. Oil, enamel, and aluminum on canvas. 221 x 299.7 cm (87 x 118 in.). National Gallery of Art, Washington, DC.
Marcel Duchamp (American, born France, 1887–1968). The Bride Stripped Bare by Her Bachelors, Even (Large Glass), 1915–23. Oil, varnish, lead foil, lead wire, and dust on two glass panels. 9 ‘ 1 ¼” × 70” x 3 3/8” (277.5 × 177.8 × 8.6 cm). Philadelphia Museum of Art, Philadelphia.
Rembrandt (Dutch, 1606–1669). Militia Company of District II under the Command of Captain Frans Banninck Cocq, also known as The Shooting Company of Frans Banning Cocq and Willem van Ruytenburch (commonly known as The Night Watch), 1642. Oil on canvas. 437 x 363 cm. City of Amsterdam.
Henri Matisse (French, 1869–1954). The Blue Nude (Memory of Biskra), 1907. Oil on canvas. 36 1/4 x 55 1/4 in. (92.1 x 140.3 cm.). Baltimore Museum of Art, Baltimore.
Mark Rothko (American, 1903–1970). No. 17, 1957. Oil on canvas. 232.5 x 176.5 cm. (91.5 x 69.5 in.). Christies.
[DETAIL] Käthe Kollwitz (German, 1867–1945). Battlefield, no. 6 from the series Peasants War, 1907. Etching, drypoint, aquatint, sandpaper and softground etching. Plate: 16 ¼ x 20 7/8 in. (41.28 x 53 cm.). Käthe Kollwitz Museum, Cologne.
[DETAIL] Käthe Kollwitz (German, 1867–1945). Battlefield, no. 6 from the series Peasants War, 1907. Etching, drypoint, aquatint, sandpaper and softground etching. Plate: 16 ¼ x 20 7/8 in. (41.28 x 53 cm.). Käthe Kollwitz Museum, Cologne.
[DETAIL] Käthe Kollwitz (German, 1867–1945). Battlefield, no. 6 from the series Peasants War, 1907. Etching, drypoint, aquatint, sandpaper and softground etching. Plate: 16 ¼ x 20 7/8 in. (41.28 x 53 cm.). Käthe Kollwitz Museum, Cologne.
[DETAIL] Käthe Kollwitz (German, 1867–1945). Battlefield, no. 6 from the series Peasants War, 1907. Etching, drypoint, aquatint, sandpaper and softground etching. Plate: 16 ¼ x 20 7/8 in. (41.28 x 53 cm.). Käthe Kollwitz Museum, Cologne.
[DETAIL] Käthe Kollwitz (German, 1867–1945). Battlefield, no. 6 from the series Peasants War, 1907. Etching, drypoint, aquatint, sandpaper and softground etching. Plate: 16 ¼ x 20 7/8 in. (41.28 x 53 cm.). Käthe Kollwitz Museum, Cologne.
[DETAIL] Käthe Kollwitz (German, 1867–1945). Battlefield, no. 6 from the series Peasants War, 1907. Etching, drypoint, aquatint, sandpaper and softground etching. Plate: 16 ¼ x 20 7/8 in. (41.28 x 53 cm.). Käthe Kollwitz Museum, Cologne.
[DETAILS] Käthe Kollwitz (German, 1867–1945). Battlefield, no. 6 from the series Peasants War, 1907. Etching, drypoint, aquatint, sandpaper and softground etching. Plate: 16 ¼ x 20 7/8 in. (41.28 x 53 cm.). Käthe Kollwitz Museum, Cologne.
Käthe Kollwitz (German, 1867–1945). The Ploughmen, no. 1 from the series Peasants War, 1907. Etching, drypoint, aquatint, sandpaper and softground etching. Plate: 31.5 x 45.7 cm (12 3/8 x 18 in.). Käthe Kollwitz Museum, Cologne.
Käthe Kollwitz (German, 1867–1945). Raped, no. 2 from the series Peasants War, 1907–08. Etching, drypoint, sandpaper and softground etching. Plate: 308 x 529 mm. (12 1/8 x 20 13/16 in.). Käthe Kollwitz Museum, Cologne.
Käthe Kollwitz (German, 1867–1945). Sharpening the Scythe, no. 3 from the series Peasants War, 1908. Etching, drypoint, aquatint, sandpaper and softground etching. Plate: 11 3/4 × 11 11/16 inches (29.8 × 29.7 cm). Käthe Kollwitz Museum, Cologne.
Käthe Kollwitz (German, 1867–1945). Arming the Vault, no. 4 from the series Peasants War, 1906. Etching, drypoint, aquatint, and softground etching. Plate: 19 1/2 x 12 7/8 in. Käthe Kollwitz Museum, Cologne.
Käthe Kollwitz (German, 1867–1945). Charge, no. 5 from the series Peasants War, 1902–03. Etching, drypoint, and softground etching. Plate: (49.2 x 57.5 cm.). Käthe Kollwitz Museum, Cologne.
[DETAIL] Käthe Kollwitz (German, 1867–1945). Charge, no. 5 from the series Peasants War, 1902–03. Etching, drypoint, and softground etching. Plate: (49.2 x 57.5 cm.). Käthe Kollwitz Museum, Cologne.
[DETAIL] Käthe Kollwitz (German, 1867–1945). Charge, no. 5 from the series Peasants War, 1902–03. Etching, drypoint, and softground etching. Plate: (49.2 x 57.5 cm.). Käthe Kollwitz Museum, Cologne.
Käthe Kollwitz (German, 1867–1945). The Prisoners, no. 7 from the series Peasants War, 1908. Etching, drypoint, sandpaper and softground etching. Plate: 328 x 426 mm. (12 15/16 x 16 3/4 in.). Käthe Kollwitz Museum, Cologne.
[DETAIL] Käthe Kollwitz (German, 1867–1945). The Prisoners, no. 7 from the series Peasants War, 1908. Etching, drypoint, sandpaper and softground etching. Plate: 328 x 426 mm. (12 15/16 x 16 3/4 in.). Käthe Kollwitz Museum, Cologne.
[DETAIL] Käthe Kollwitz (German, 1867–1945). The Prisoners, no. 7 from the series Peasants War, 1908. Etching, drypoint, sandpaper and softground etching. Plate: 328 x 426 mm. (12 15/16 x 16 3/4 in.). Käthe Kollwitz Museum, Cologne.
Jean-François Millet (French, 1814–1875) The Gleaners, 1957. Oil on canvas. 83.8 × 111.8 cm. (33 × 44 in.). Musée d’Orsay, Paris.
Jean-François Millet (French, 1814–1875). The Gleaners, 1955. Etching. 192 x 253 mm. Rijksmuseum, Amsterdam.
Käthe Kollwitz (German, 1867–1945). Self-Portrait, 1926–36. Bronze. Käthe Kollwitz Museum, Cologne.
Georges Seurat (French, 1859–1891). Landscape, 1876–86. Black Conté crayon. 24.9 × 31.6 cm (9 13/16 × 12 1/2 in.). Art Institute of Chicago, Chicago.
Ernst Barlach (German, 1870–1938). The Avenger, 1914. Bronze. 22.9 x 44.5 x 61 cm. Harvard Art Museums, Cambridge.
Jacques Muron (French, born 1950). Egret, 1996. Engraving on chine collé. Plate: 14 ½ x 3 ¾ in.
[DETAIL] Jacques Muron (French, born 1950). Egret, 1996. Engraving on chine collé. Plate: 14 ½ x 3 ¾ in.
[DETAIL] Jacques Muron (French, born 1950). Egret, 1996. Engraving on chine collé. Plate: 14 ½ x 3 ¾ in.
Mary Cassatt (American, 1844–1926). The Banjo Lesson, c. 1893. Color drypoint and aquatint with monoprint inking. Plate: 29.85 × 23.81 cm (11 3/4 × 9 3/8 in.); sheet: 41.9 x 29.2 cm (16 1/2 x 11 1/2 in.). National Gallery of Art, Washington, DC.
Andrea Mantegna (Italian, c. 1431–1506). Lamentation over the Dead Christ, c. 1483. Tempera on canvas. 680 x 810 mm. Pinacoteca di Brera, Italy.
Käthe Kollwitz (German, 1867–1945). Battlefield, no. 6 from the series Peasants War, 1907. Etching, drypoint, aquatint, sandpaper and softground etching. Plate: 16 ¼ x 20 7/8 in. (41.28 x 53 cm.). Baltimore Museum of Art, Baltimore.
Rembrandt (Dutch, 1606–1669). The Hundred Guilder Print: Christ with the Sick around Him, c. 1648. Etching, drypoint, and engraving on Japanese paper. 280 x 394 mm. Rijksmuseum, Amsterdam.
In s3e39, Platemark host Ann Shafer speaks with Sue Coe, an artist and social activist. The pair were joined in the conversation by Tru Ludwig (Sue is one of Tru’s art heroes) at Sue’s home in the Catskill Mountains, New York.
Sue creates art that goes right to the heart of an issue, whether it be animal cruelty, capitalism, authoritarianism, women’s rights or any other progressive ideal. Images are sometimes difficult, (TRIGGER WARNING) and the conversation touched on some topics that may be distressing for listeners. Please know the discussion ranges from slaughterhouses and mass killings of animals to sexual violence against women, along with a number of other tough topics. There are also plenty of expletives coming from all corners. Consider this fair warning.
Sue, Ann, and Tru talked about veganism, the environment, Käthe Kollwitz, Galerie St. Etienne and famed dealer Hildegard Bachert, placing work at an institution (Sue calls Ann “you poor, sad creature”), and starting a museum just for printmaking. It’s quite a conversation.
Sue Coe on her deck, our temporary recording studio, Deposit, NY.
Sue Coe (English, born 1951). Auschwitz Begins…, 2009. Woodcut. Sheet: 15 ½ x 52 in. (39.4 x 132.1 cm.). Galerie St. Etienne.
Sue Coe (English, born 1951). Depopulation, 2020. Linoleum cut. Sheet: 10 3/8 x 8. ½ in. (26.4 x 21.6 cm.). Galerie St. Etienne.
Shiko Munakata (Japanese, 1903–1975). The Visit, 1959. Woodcut. Sheet: 130 1/16 x 15 in. (33.2 x 38.1 cm.) Museum of Modern Art, New York.
James Gilray (British, 1756–1815). Edward Jenner vaccinating patients in the Smallpox and Innoculkation Hospital of St. Pancras; the patients develop features of cows, 1802. Etching with watercolor. Wellcome Collection, London.
Sue Coe (English, born 1951) and Eric Avery (American, born 1949). Zoonotic Spillover, 2023. Linoleum cut with hand coloring. Sheet: 30 x 36 ¾ in. (76.2 x 93.3 cm.). Published by Tarantula Press, Texas A&M University.
Sue Coe’s carving station.
Sue Coe in her studio.
Sue Coe pulls open the flat files.
Sue Coe (English, born 1951). Fighting the New Jim Crow, 2021. Woodcut.
Sue Coe (English, born 1951). Woman Walks into Bar–Is Raped by Four Men on the Pool Table–While 20 Watch, 1983. Mixed media. 7' 7 5/8" x 9' 5 1/4" (232.7 x 287.7 cm.). Museum of Modern Art, New York.
Otto Dix (German, 1891–1969). Shock Troops Advance under Gas (Sturmtruppe geht unter Gas vor) from The War (Der Krieg), 1924. Etching, aquatint, and drypoint, from a portfolio of fifty prints. Plate: 7 5/8 x 11 5/16 in. (19.3 x 28.8 cm.); sheet: 13 11/16 x 18 5/8 in. (34.8 x 47.3 cm.). Museum of Modern Art, New York.
Sue Coe (English, born 1951). Bush Aids, 1990. Photoetching. Sheet: 15 x 10 7/8 in. (38.1 x 27.6 cm.). Pennsylvania Academy of Fine Arts, Philadelphia.
Käthe Kollwitz (German, 1867–1945). Battlefield, no. 6 from the series Peasants’ War, 1907. Etching, drypoint, aquatint, sandpaper and softground etching. Plate: 16 ¼ x 20 7/8 in. (41.28 x 53 cm.). Käthe Kollwitz Museum, Cologne.
Sue Coe (English, born 1951). Woman Tied to Pole, 1984. Photoetching. 13 1/4 x 9 1/4 in. (33.6 x 23.5 cm.).
Installation shot from Sue Coe: Graphic Resistance. MoMA PS1, June 3–September 9, 2018.
Ann Shafer and Sue Coe, June 3, 2023.
In this week's episode of Platemark (s3e38), host Ann Shafer talks with Jillian Ross, collaborative master printer and publisher with an eponymous imprint, Jillian Ross Print, in Saskatoon, Saskatchewan, Canada.
Ross returned to her native Saskatoon after many years in Johannesburg, South Africa, where she was the master printer at the David Krut Workshop (DKW) from 2003 to 2020. There, she worked with over 100 South African and international artists, most notably William Kentridge. Ross and partner Brendan Copestake founded Jillian Ross Print in 2021 in Saskatoon, where they continue working on collaborative projects in South Africa as well as developing new relationships abroad.
Ross has collaborated with William Kentridge since 2006 on major, complicated, and multi-part print projects, including the Triumphs and Laments Woodcuts (2016–21), The Universal Archive (2011–15), The Noses (2006–10) at DKW, and the recently released Studio Life Gravures (2020–22) from Jillian Ross Print (co-published with DKW). Her collaboration with Kentridge continues.
Other recent projects include a partnerships with Latitudes Online, South African artists Cinthia Sifa Mulanga and Puleng Mongale, and the technical team at The University of Alberta in Canada. Ross recently realized an exhibition, William Kentridge: The Colander, at Griffin Art Projects in Vancouver, BC, with curator Lisa Baldissera, the Kentridge Studio, and David Krut Projects in Johannesburg.
Throughout her work, particularly in the publicly accessible open-studio format of DKW at Arts on Main in Johannesburg, Ross has promoted and enhanced artist, collector, and public knowledge of printmaking through mentorship, educational workshops, and knowledge sharing.
Episode image: Lucy MacGarry
USEFUL LINKS
https://www.jillianrossprint.com
https://www.instagram.com/jillianrossprint_/
https://www.facebook.com/jillian.ross.520
https://www.linkedin.com/in/jillianrossprint
https://www.griffinartprojects.ca/exhibitions/william-kentridge-the-colander
https://latitudes.online/artworks.html
https://latitudesartfair.com/about-the-event/
https://remaimodern.org/about/remai-modern-museum/
Jillian Ross working on William Kentridge’s photogravure plates at the University of Alberta, Edmonton.
Jillian Ross (on ladder) working on William Kentridge prints at David Krut Workshop, Johannesburg, South Africa.
William Kentridge looks at a print with (from l-r) Brendan Copestake, David Krut, Jillian Ross, Roxy Kaczmarek, and Kim-Lee Loggenberg.
Jillian Ross (right) inspecting proofs with (from l-r) Sarah Judge, David Krut, and William Kentridge at David Krut Workshop, Johannesburg, South Africa.
William Kentridge (South African, born 1955). Studio Life: Hope? On special offer, 2022. Photogravure and drypoint with Arakaji Natural Gampi and White Gampi MM20 chine collé on Hahnemühle Natural White 300gsm paper. Sheet: 17 3/10 × 21 3/10 in. (44 × 54 cm.); plate: 9 ¼ x 16 ½ in. (23.4 x 42 cm.). Published by David Krut Projects, Johannesburg, South Africa.
William Kentridge (South African, born 1955). Universal Archive: Big Tree, 2012. Linoleum cut on 15 sheets of Encyclopedia Britannica pages. Sheet: 82 x 90 cm. (32 ¼ x 35 3/8 in.); image: 77 x 72.4 cm. (30 3/8 x 28 ½ in.). Published by David Krut Projects, Johannesburg, South Africa.
William Kentridge (South African, born 1955). Nose: #25, 2009. Drypoint, etching, and liftground aquatint. Plate: 35 x 14.9 cm. (13 ¾ x 6 in.); sheet: 40 x 35 cm. (15 ¾ x 13 ¾ in.). Published by David Krut Projects, Johannesburg, South Africa.
William Kentridge (South African, born 1955). Triumphs and Laments: Refugees, 2018–19. 26 woodcuts printed on 77 sheets. Overall: 188 x 350 cm. (74 x 137 ¾ in.). Published by David Krut Projects, Johannesburg, South Africa.
Jillian Ross creating assembly instructions, charts, and maps for Kentridge’s Triumphs and Laments, 2018–19.
Jillian Ross working on the complicated print Triumphs and Laments: Refugees, 2018–19, by William Kentridge. 26 woodcuts printed on 77 sheets. Overall: 188 x 350 cm. (74 x 137 ¾ in.). Published by David Krut Projects, Johannesburg, South Africa.
William Kentridge (South African, born 1955). Triumphs and Laments: Mantegna, 2016–17. Relief printed from 13 woodblocks and 1 linoleum cut on Somerset Velvet Soft White 300 gsm. Overall: 76 ¾ x 78 3/8 (195 x 199 cm.). Published by David Krut Projects, Johannesburg, South Africa.
William Kentridge | The Colander. Exhibition curated by Lisa Baldiserra. Griffin Art Projects, Vancouver, BC. May 29–September 4, 2021.
William Kentridge and DKW printer Kim-Lee Loggenberg.
A scene from William Kentridge’s Self-Portrait as a Coffee Pot.
Giorgio Morandi (Italian, 1890–1964). Grande natura morta con la caffettiera (Large Still Life with Coffeepot), 1933, printed later. Etching. Plate: 11 11/16 x 15 3/8 in. (29.7 x 39 cm.); sheet: 15 1/16 x 20 1/8 in. (38.3 x 51.1 cm.). Published by Calcografia Nazionale, Rome. Museum of Modern Art, New York.
William Kentridge (South African, born 1955). Eight Vessels, 2020–21. 4-plate photogravure with hand painting. 64 x 96 cm. (28¾ x 39¼ in.). Published by Jillian Ross.
William Kentridge in studio.
Components of William Kentridge (South African, born 1955). Eight Vessels, 2020–21. 4-plate photogravure with hand painting. 64 x 96 cm. (28¾ x 39¼ in.). Published David Krut Projects, Johannesburg, South Africa.
David Krut watches William Kentridge work in his studio on Eight Vessels.
William Kentridge’s Triumphs and Laments, Tiber River.
William Kentridge (South African, born 1955). Tree (17), 2022. Direct gravure with drypoint on gampi chine with red pencil. 563.5 x 62.9 cm. Published by David Krut Workshop and Jillian Ross Print.
Cinithia Sifa Mulanga (South African, born 1997). Vulnerable, 2022. Direct gravure with photogravure on chine collé and collage. Plate: 40.5 x 30.2 cm.); sheet: 51 x 40.5 cm.). Published by David Krut Projects, Johannesburg, South Africa.
Puleng Mongale signing the edition of Grounded, 2021. Photogravure with etching with color roll on surface Gampi chine collé. 48.5 x 62.5 cm. Co-published by Latitudes Online and Jillian Ross Print.
William Kentridge (South African, born 1955). The Old Gods Have Retired, 2022. Photogravure with liftground aquatint, direct gravure, drypoint and chine collé with found ledger paper and hand painting. Sheet: 175 x 210 cm. Co-published by David Krut Projects and Jillian Ross Print.
William Kentridge working on Mantegna from the Triumphs and Laments series.
Latitudes Online website.
Shepstone Gardens, site of the RMB Latitudes Art Fair. Johannesburg, South Africa.
RMB Latitudes Art Fair. Johannesburg, South Africa.
Remai Modern Museum, Saskatoon, Sasketchawan.
Nick Cave (American, born 1959). Spinner Forest, 2020. Installation view at Remai Modern, 2023. Photo: Carey Shaw.
Chad Cordiero and Sbongiseni Khulu printing one of 77 elements for Kentridge’s Triumphs and Laments: Refugees, 2018–19. 26 woodcuts printed on 77 sheets. Overall: 188 x 350 cm. (74 x 137 ¾ in.). Published by David Krut Projects, Johannesburg, South Africa.
Robyn Penn prints in process. Lithographs on Awagami Kitkata chine collé pn Zerkall White. Each: 76 x 63.5 cm. Published by Jillian Ross Print.
William Kentridge at work.
William Kentridge and David Krut inspect an impression of Tree (17).
In the second part of their conversation, Ann Shafer and printer/publisher Phil Sanders continue talking about the state of the printmaking ecosystem.
They talk about why supporting artists is important even if you don’t like what they are doing, why that new Julie Mehretu set of etchings costs $250K, the imminent brain drain among our elder printers, and the importance of art and creativity to humanity’s survival.
Cynthia Bringle (American, born 1939). Blue Covered Jar with Fish. Ceramic. 21 inches tall.
Rembrandt (Dutch, 1606–1669). The Three Trees, 1643. Etching, engraving, and drypoint. Plate: 8 3/8 x 10 15/16 in. (21.3 x 27.8 cm.); sheet: 8 3/8 x 11 1/8 in. (21.3 x 28.3 cm.). Metropolitan Museum of Art, New York.
Pablo Picasso (Spanish, 1881–1973). Woman with Bangs, 1902. Oil on canvas. 61.3 x 51.4 cm. Baltimore Museum of Art, Baltimore, MD.
Joan Mitchell (American, 1925–1992). Bracket, 1989. Oil on canvas. 102 1/2 x 181 7/8 in. (260.35 x 461.96 cm.). San Francisco Museum of Modern Art, San Francisco, CA. ©Estate of Joan Mitchell.
Julie Mehretu (American, born Ethiopia, 1970). This Manifestation of Historical Restlessness, (from Robin's Intimacy), 2022. 10-panel etching/aquatint from 50 plates. Overall: 93 1/2 x 173 1/8 in. (237.49 x 439.74 cm.). Published by Gemini G.E.L., Los Angeles, CA.
Phil Sanders giving tour of the booth of Kingsland Editions at the Baltimore Fine Art Print Fair, 2023.
Still from Stanley Kubrick’s 2001: A Space Odyssey.
USEFUL LINKS
PS Marlowe https://psmarlowe.com/
Phil’s IG @phil_sanders_studio
Phil’s FB https://www.facebook.com/phil.sanders.printmaking
In s3e36, Platemark host Ann Shafer speaks with printer/publisher and author Phil Sanders about the state of the ecosystem. Phil has a finger in nearly every pie in the ecosystem, so after a Platemark listener wrote in to ask about breaking into the publishing end of things, Ann turned to Phil.
They talk about the history of print publishing after the print boom quieted down in the 1980s, why the prices of prints are in need of revision, and how to read a Joan Mitchell painting, among many other things. Their conversation stretches well past two hours and so Ann split it into two episodes.
Phil Sanders. Prints and Their Makers. Hudson, NY: Princeton Architectural Press, 2021.
Sara Sanders (American, born 1979). Ballinglen Wildflowers 1-11, 2022. Watercolor monotype. 11 ¾ x 8 ¾ in. (30 x 22.2 cm.). Published by PS Marlowe, Asheville, NC.
Jasper Johns (American, born 1930). False Start I, 1962. 11-color lithograph. Plate: 44.5 × 35 cm. (17 9/16 × 13 13/16 in.); sheet: 76 × 56.7 cm. (29 15/16 × 22 3/8 in.). Published by Universal Limited Art Editions, Bayshore, NY.
Jasper Johns (American, born 1930). False Start II, 1962. Color lithograph. Plate: 44.5 × 35 cm. (17 9/16 × 13 13/16 in.); sheet: 76 × 56.7 cm. (29 15/16 × 22 3/8 in.). Published by Universal Limited Art Editions, Bayshore, NY.
Jasper Johns (American, born 1930). Bushbaby, 2004. Intaglio in 10 colors. Sheet: 43 x 30 in. (109.22 x 76.2 cm.). Published by Universal Limited Art Editions, Bayshore, NY.
Amy Cutler (American, 1974). Cake Toss, 2004. 10-color lithograph. 21 3/4 x 24 in. (55.25 x 60.96 cm.). Published by Universal Limited Art Editions, Bayshore, NY.
Julie Mehretu (American, born Ethiopia, 1970). This Manifestation of Historical Restlessness, (from Robin's Intimacy), 2022. 10-panel etching/aquatint from 50 plates. Overall: 93 1/2 x 173 1/8 in. (237.49 x 439.74 cm.). Published by Gemini G.E.L., Los Angeles, CA.
USEFUL LINKS
PS Marlowe https://psmarlowe.com/
Phil’s IG @phil_sanders_studio
Phil’s FB https://www.facebook.com/phil.sanders.printmaking
In s3e35, Platemark host Ann Shafer talks with Larissa Goldston, director and owner of Universal Limited Art Editions, usually referred to by its acronym ULAE. We talk about ULAE’s founder Tatyana Grosman, and her harrowing escape from first Siberia following the assassination of Czar Nicholas, and then from the Nazis in France.
Larissa talks about the early days of ULAE, growing up there, how they find artists to work with, and all her favorite print projects. Larissa ‘s father, Bill Goldston, was its printer and director for many years. With his retirement, Larissa has taken the reigns. It’s hard work, but the combination of the creative process and collaborative printmaking is where the magic happens.
Larry Rivers (American, 1923–2002). Stones, 1957–59. Portfolio of 12 lithographs with poetry by Frank O'Hara. Each sheet: 19 x 23 1/4 in. (48.26 x 59.06 cm). Published by Universal Limited Art Editions, West Islip, NY.
James Siena (American, born 1957). Backs, 2007. Set of 5 framed lithographs. Each: 23 ½ x 24 ½ in. (59.7 x 62.2 cm.). Published by Universal Limited Art Editions, West Islip, NY.
Barnett Newman (American, 1905–1970). Untitled Etching #1, 1968–69. Intaglio with etching and aquatint. on J.B. Green Hayle Mill English paper. 22 1/2 x 31 3/4 in. (57.15 x 80.65 cm). Published by Universal Limited Art Editions, West Islip, NY.
Lee Bontecou (American, ). Ninth Stone, 1965–68. Lithograph in 1 color on Chatham British paper. 20 in. x 25 in. (50.8 cm x 63.5 cm) Published by Universal Limited Art Editions, West Islip, NY.
Helen Frankenthaler (American, 1928–2011). First Stone, 1961. Lithograph in 5 colors on Arches Satine paper. 30 x 22 in. (76.2 x 55.88 cm). Published by Universal Limited Art Editions, West Islip, NY.
Cy Twombly (American, 1928–2011). Untitled I, 1967–74, 1967. Intaglio with etching, open bite, and aquatint on handmade J. Green paper. 27 1/2 x 40 1/2 in. (69.85 x 102.87 cm). Published by Universal Limited Art Editions, West Islip, NY.
Jasper Johns (American, born 1930). 0 through 9, 1960. Lithograph on Arches paper. 30 x 22 in. (76.2 x 55.88 cm). Published by Universal Limited Art Editions, West Islip, NY.
Jasper Johns (American, born 1930). Decoy, 1971. Lithograph with die-cut on Rives BFK paper. 41 x 29 in. (104.14 x 73.66 cm). Published by Universal Limited Art Editions, West Islip, NY.
Jasper Johns (American, born 1930). Passage I, 1966. Lithograph on Italia paper. 28 x 36 in. (71.12 x 91.44 cm). Published by Universal Limited Art Editions, West Islip, NY.
Bill Jensen (American, born 1945). Vanquished, 1989. Intaglio in 5 colors on Fabriano Esportazione paper. 22 1/2 x 17 3/4 in. (57.15 x 45.09 cm). Published by Universal Limited Art Editions, West Islip, NY.
Terry Winters (American, born 1949). Knot, 2004. Lithograph in 4 colors on Rives BFK 280 gsm paper. 22 x 30 in. (55.88 x 76.2 cm). Published by Universal Limited Art Editions, West Islip, NY.
Carroll Dunham (American, born 1949). Accelerator, 1985. Lithograph in 4 colors on Rives BFK paper. 42 x 29 3/4 in. (106.68 x 75.57 cm). Published by Universal Limited Art Editions, West Islip, NY.
Christopher Wool (American, born 1955). Untitled, 2013. Lithograph in 2 colors on J. Whatman handmade paper. 30 1/2 x 22 1/2 in. (77.47 x 57.15 cm). Published by Universal Limited Art Editions, West Islip, NY.
Charline von Heyl (German, born 1960). Shenanigan, 2020. Intaglio with relief and lithography on En Tout Cas paper. 24 5/8 x 20 1/8 in. (62.5 x 51.1 cm). Published by Universal Limited Art Editions, West Islip, NY.
Jane Hammond (American, born 1950). Clown Suit, 1995. Three-dimensional lithograph and silkscreen in 24 colors on handmade Chiri paper. 55 x 39 x 10 in. (139.7 x 99.06 x 25.4 cm). Published by Universal Limited Art Editions, West Islip, NY.
Elizabeth Murray (American, 1940–2007). Shack, 1994. Three-dimensional lithograph in 20 colors. Overall: 63 x 51 x 2 in. (160 x 129 x 5 cm.). Published by Universal Limited Art Editions, West Islip, NY.
Wyatt Kahn (American, born 1983). New Houston Street (9-color woodcut), 2022. Woodcut in 9 colors on Saunders Waterford paper. 71 1/2 x 55 3/4 in. (181.6 x 141.6 cm. Published by Universal Limited Art Editions, West Islip, NY.
Wyatt Kahn carving woodblock at ULAE.
Bruce Wankel printing Wyatt Kahn’s woodcut, New Houston Street (9 color woodcut), 2022.
Robert Rauschenberg (American, 1925–2008). Soviet/American Array I, 1988–89. Intaglio in 14 colors with collage on Saunders with Oriental rice paper. 88 1/2 x 53 1/2 in. (224.79 x 135.89 cm). Published by Universal Limited Art Editions, West Islip, NY.
Suzanne McClelland (American, born 1959). Tea Leaves, 1996. Lithograph and screenprint in 4 colors with collage on Torinoko paper. 86 x 108 in. (218.44 x 274.32 cm). Published by Universal Limited Art Editions, West Islip, NY.
Christopher Wool (American, born 1955). Untitled 1, 2021. Portfolio of four intaglios on Arches En Tout Cas paper. 20 x 17 in. (50.8 x 43.18 cm). Published by Universal Limited Art Editions, West Islip, NY.
James Rosenquist (American, 1933–2017). Dog Descending a Staircase, 1980–82. Lithograph and intaglio on Arches Cold Press paper. 42 x 70 in. (106.68 x 177.8 cm). Published by Universal Limited Art Editions, West Islip, NY.
Eddie Martinez (American, born 1977). Untitled, 2021. Monotype on En Tout Cas paper. 13 x 17 in. (33 x 43.2 cm). Published by Universal Limited Art Editions, West Islip, NY.
Julia Rommel (American, born 1980). Untitled (Gowanus, March 2018), 2018. Intaglio in 9 colors on Revere Felt White paper. 13 3/16 x 10 3/8 in. (33.5 x 26.35 cm). Published by Universal Limited Art Editions, West Islip, NY.
Sam Moyer (American, born 1983). R.R. Echo, 2022. Lithograph in 4 colors on Rives BFK Grey paper. 44 x 30 in. (111.8 x 76.2 cm). Published by Universal Limited Art Editions, West Islip, NY.
Martin Puryear (American, born 1941). Untitled, 2022. Intaglio on Arches En Tout Cas paper. 28 ¾ x 29 ½ in. (73 x 74.9 cm.). Published by Universal Limited Art Editions, West Islip, NY.
Joe Bradley (American, born 1975). 5 Lithographs, 2015. Set of 5 lithographs on various papers. 24 x 28 in. (60.96 x 71.12 cm). Published by Universal Limited Art Editions, West Islip, NY.
Robert Rauschenberg (American, 1925–2008). Accident, 1963. Lithograph in 2 colors on Rives BFK paper. 41 x 29 in. (104.14 x 73.66 cm). Published by Universal Limited Art Editions, West Islip, NY.
Helen Frankenthaler (American, 1928–2011). Savage Breeze, 1974. Woodcut in 7 colors on handmade laminated Nepalese buff paper. 31 1/2 x 27 in. (80.01 x 68.58 cm). Published by Universal Limited Art Editions, West Islip, NY.
Helen Frankenthaler (American, 1928–2011). East and Beyond, 1972–73. Woodcut in 7 colors on handmade laminated Nepalese buff paper. 31 1/2 x 21 1/2 in. (80.01 x 54.61 cm). Published by Universal Limited Art Editions, West Islip, NY.
Riva Castleman. Tatyana Grosman: A Scrapbook. West Islip, NY: Universal Limited Art Editions, 2008.
USEFUL LINKS
ULAE’s website https://www.ulae.com/artists/
ULAE’s Instagram @ulaestudio
ULAE’s Facebook https://www.facebook.com/ulaestudio
In s3e34, Platemark host Ann Shafer speaks with Jason Scuilla, artist and professor at Kansas State University in Manhattan, KS. The university is hosting the Mid America Print Council conference in the fall of 2024, and Jason was eager to talk about the conference and its call for proposals of all sorts. The deadline is the end of September 2023; the link is https://fromtheashes.k-state.edu/.
In addition to the MAPC conference, Ann was eager to speak with Jason about his research into electrolytic etching, a non-toxic method of creating superbly detailed, precise, and rich etchings. They also talk about teaching undergrad and grad students, sabbaticals, as well as Jason’s own work.
Episode image: Melissa Scuilla
Konza Prairie, Flint Hills, Kansas.
Mid America Print Council conference homepage.
Hale Library Great Hall, Kansas State University, Manhattan, KS.
Crayola’s Colors of the World markers.
Michelangelo (Italian, 1475–1564). The Last Judgment, 1536–41. Fresco. 13.7 m × 12 m (45 × 39 ft.). Sistine Chapel, Vatican City.
Rembrandt (Dutch, 1606–1669). The Windmill, 1641. Etching. Sheet: 5 7/8 x 8 5/16 in. (15 x 21.1 cm.). Metropolitan Museum of Art, New York.
Francisco de Goya (Spanish, 1746–1828). Plate 43 from Los Caprichos: The sleep of reason produces monsters (El sueño de la razon produce monstruos), 1799. Etching and aquatint. Plate: 8 3/8 x 5 15/16 in. (21.2 x 15.1 cm.); sheet: 11 5/8 x 8 1/4 in. (29.5 x 21 cm.). Metropolitan Museum of Art, New York.
Student interpretations of Goya Caprichos etchings for the first project in Intro to Printmaking Techniques class at Kansas State University.
Student interpretations of Goya Caprichos etchings for the first project in Intro to Printmaking Techniques class at Kansas State University.
Frank and Dorothy Getlein. The Bite of the Print: Satire and Irony in Woodcut, Engravings, Etchings, and Lithographs. New York: Bramhall House, 1963.
Francisco de Goya (Spanish, 1746–1828). Plate 11 from The Disasters of War (Los Desastres de la Guerra): Neither do these (Ni por esas), c. 1810. Etching, drypoint, and burin. Plate: 6 5/16 × 8 3/8 in. (16.1 × 21.2 cm.); sheet: 8 3/8 × 12 3/4 in. (21.3 × 32.4 cm.). Metropolitan Museum of Art, New York.
Jason Scuilla (American, born 1980). Veduta. Electrolytic etching. 12 x 9 in.
Jason Scuilla (American, born 1980). Echoes of Rome: Villa with Spirits. Multiplate electrolytic etching. Plate: 16 x 12 in.
Jason Scuilla (American, born 1980). Monk with Fantastic Digit. Electrolytic etching. 12 x 9 in.
Jason Scuilla (American, born 1980). Proxy War Monument (King Covid). Electrolytic etching. Plate: 32 x 24 in.
[DETAIL] Jason Scuilla (American, born 1980). Proxy War Monument (King Covid). Electrolytic etching. Plate: 32 x 24 in.
Jason Scuilla (American, born 1980). Plate for Proxy War Monument (King Covid). Electrolytically etched copper plate. Plate: 32 x 24 in.
Jason Scuilla (American, born 1980). Arsenale. Multi-plate electrolytic etching and acid etching. Plate: 12 x 9 in.
Jason Scuilla (American, born 1980). Stone Head. Monotype, stencil, relief, and drawing. 22 x 15 in.
Jason Scuilla (American, born 1980). Proxy War Monument with Abductee. Color etching. Plate: 16 x 12 in.
Jason Scuilla (American, born 1980). Proxy War Monument (Self Portrait). Multiplate color electrolytic etching. Plate: 16 x 12 in.
Large bath for electrolytic etching, Kansas State University.
Testing area for electrolytic etching, Kansas State University.
Didactic explaining the NEA grant for electrolytic etching, Kansas State University.
Jason Scuilla welcoming members of the Print Council of America to the printshop at Kansas State University in 2019.
Copper plate going into the bath for electrolytic etching, Kansas State University.
USEFUL LINKS
Jason’s website: www.jasonscuilla.com
Instagram: @jscuilla
Mid America Print Council: www.mapc2024.com
MAPC conference website: https://fromtheashes.k-state.edu/
KState grad program: https://art.ksu.edu/
Link to Leonardo article: https://direct.mit.edu/leon/article-abstract/54/4/427/97277/An-Optimized-Nontoxic-Electrolytic-Etching
Link to MET lecture: https://www.metmuseum.org/events/programs/met-speaks/free-lectures/conversation-etchings
The Bite of the Print book: https://www.amazon.com/Woodcuts-Engravings-Etchings-Lithographs-Serigraphs/dp/B0006AY31Q
Course Trailer: Printmaking during Civil Unrest and Challenging Times: https://youtu.be/5MNQiYl_xPk
This episode exists as a YouTube video as well. Here's the link: https://youtu.be/tjsvRWdC8V0
In s3e33, Platemark podcast host Ann Shafer talks with Ruth Lingen, printer and owner of Line Press Limited, located in the Dumbo neighborhood of Brooklyn. Line Press Limited does just about everything except screenprinting. Ruth is a jack-of-all-trades, and loves book arts the most, from papermaking to typesetting to printing and binding. After studying with the legendary Walter Hamady, Ruth got her start in New York with Joe Wilfer in the very early days of Pace Prints. She printed for many artists while at Pace, including Chuck Close and Jim Dine (for whom she still prints every summer in Walla Walla). Ruth worked closely with Bill Hall and Julia D’Amario at Pace, both of whom are previous guests on Platemark: Bill is featured in s3e6 and Julia appears in s3e15.
Ruth has collaborated with more than 50 of the world's greatest artists—on prints (some for Pace editions, some on her own) and very special limited edition artist books. In addition to Dine and Close, she has collborated on editions with such art-world luminaries as Robert Ryman, Mary Heilmann, Kiki Smith, Claes Oldenberg, Bob Holman, Robert Creeley, Jessica Stockholder, Jeremy Sigler, Donald Traever, Al Held, and John Chamberlain. Lingen's work can be found in the collection of The Metropolitan Museum of Art, The Getty, and the Brooklyn Museum, as well as in more than 20 libraries, from the New York Public Library to the Harvard University Library.
Louise Nevelson (American, born Ukraine, 1899–1988). Untitled, 1985. Cast paper relief. 14 x 14 ¼ in. Published by Pace Editions. Edition of 250.
Suzanne Anker (American, born 1946). Organic Abstract Cast Paper Sculpture, 1990. 20 x 20 in. Unique.
Chuck Close (American, 1940–2021). Emma, 2002. Woodcut in the Ukiyo-e style. 43 x 35 in. (109.2 x 88.9 cm.). Published by Pace Editions. Edition of 55.
Chuck Close (American, 1940–2021). Phil / Manipulated, 1982. 24-color handmade paper. Published by Pace Editions. Edition of 20.
Chuck Close (American, 1940–2021). Roy Paper/Pulp, 2009. Stenciled handmade paper. 35 ½ x 28 ½ in. Published by Pace Editions. Edition of 30.
Chuck Close (American, 1940–2021). Self Portrait/Spitbite, 1988. Spitbite etching. Sheet: 20 ½ x 15 5/8 in. Published by Pace Editions. Edition of 50.
Chuck Close (American, 1940–2021). Lucas/Woodcut, 1993. Color woodcut with color stencil (pochoir). Sheet: 1181 × 914 mm. (46 1/2 × 36 in.). Baltimore Museum of Art. Published by Pace Editions. Edition of 50.
Chuck Close (American, 1940–2021). Self-Portrait I (Dots), 1997. Reduction linoleum cut. 24 x 18 in. Published by Pace Editions. Edition of 70.
Ed Ruscha (American, born 1937). Clown Speedo, 1998. Aquatint. Sheet: 36 x 26 ½ in.; plate: 27 ¾ x 20 in. Published by Pace Editions. Edition of 35.
Francesco Clemente (American, born Italy, 1952). Art Pro Choice II, 1991. Three-color relief print. Sheet: 20 x 16 in. Published by NARAL. Edition of 125.
Alan Shields (American, 1944–2005). Synchromesh, from the series Soft and Fluffy Gears, 1987. Punched, glued, sewn, and assembled handmade paper. Sheet: 21 x 18 ½ in. Co-published by Pace Editions and Tandem Press. Edition of 15.
Michael Young (American, born 1952). Impossibility of Perpetual Motion I, 1990. Relief print with screenprint and sand. 33 1/2 x 29 ¼ in. Published by Spring Street Workshop. Edition of 35.
Jane Hammond (American, born 1950), Untitled (monoprint), 2008. Relief print with collage elements created using lithography, linoleum cut, rubber stamp, digital and relief printing, with additional watercolor and hand coloring by the artist. 30 x 22 in. Published by Pace Editions. Unique.
Jim Dine (American, born 1955). A Garden, 2010. Two-color woodcut. Sheet: 58 x 44 in. Edition of 12.
Jim Dine (American, born 1955). The Felt Skull, 1994. Woodcut on felt. 39½ x 31 ½. Published by Pace Editions. Edition of 7.
Jim Dine (American, born 1935). Love and Grief, 1992. Diptych of woodcuts with hand coloring. Overall: 41¼ × 65½ in. (105 × 166 cm.). Published by Pace Editions. Edition of 17.
Jim Dine (American, born 1935). The Orange Birthday Bathrobe, 2010. Lithograph, woodcut, etching, and rubber stamp. Sheet: 138.4 x 97.8 cm. Cristea Roberts Gallery. Edition of 28.
Jim Dine (American, born 1935). Bleeding Boy, 2008. Linoleum cut. Image: 64 3/4 × 38 5/8 in. (164.5 × 98.1 cm.); Sheet: 68 1/4 × 40 in. (173.4 × 101.6 cm.). Allen Memorial Art Museum, Oberlin College. Edition of 14.
Jim Dine (American, born 1935). Raven on Lebanese Border, 2000. Softground etching and woodcut with white hand coloring. Sheet: 781 × 864 mm. (30 3/4 × 34 in.); plate: 676 × 768 mm. (26 5/8 × 30 1/4 in.). Baltimore Museum of Art, Baltimore, MD. Published by Pace Editions. Edition of 8.
Robert Ryman (American, 1930–2019). Conversion, 2001. Three-color relief print on aluminum. 15 x 15 in. Published by Pace Editions. Edition of 25.
John Chamberlain (American, 1927–2011). Conversations with Myself, 1992. Artist book, with letterpess and additional drypoint print. Page: 6 x 6 in. Published by Pace Editions. Edition of 108.
Jim Dine (American, born 1935), printed by Julia D’Amario. Astonishing, Health and Sunshine, 2021. Spitbite aquatint, drypoint and lithograph with hand-coloring on Shiramibe paper, mounted onto three sheets of Hahnemuhle Copperplate White paper. Sheet (each): 142.7 x 83.1 cm.; image (each): 125.7 x 68 cm. Cristea Roberts Gallery. Edition of 11.
Jim Dine (American, born 1935). Electrolyte In Blue, 2023. Bound volume with letterpress, intaglio, and lithography. Edition of 7.
Spreads from Jim Dine (American, born 1935). Electrolyte In Blue, 2023. Bound volume with letterpress, intaglio, and lithography. Edition of 7.
Michael Stipe (American, born 1960). The Name Project, 2022. Artist’s book project compiled from 45 editioned book objects. Sizes vary. Editions vary between 4 and 6.
USEFUL LINKS
Line Press Limited https://www.linepresslimited.com/
Timelapse of Roy paper pulp print being made https://www.youtube.com/watch?v=7upgJA6Azpo
Ruth describing making Lucas paper pulp. Good one. https://www.youtube.com/watch?v=lZttkbmtqKo
Ruth’s talk at William Paterson University Art Galleries https://www.youtube.com/watch?v=J6lq3x3O1HU
In s3e33, Platemark podcast host Ann Shafer talks with Ruth Lingen, printer and owner of Line Press Limited, located in the Dumbo neighborhood of Brooklyn. Line Press Limited does just about everything except screenprinting. Ruth is a jack-of-all-trades, and loves book arts the most, from papermaking to typesetting to printing and binding. After studying with the legendary Walter Hamady, Ruth got her start in New York with Joe Wilfer in the very early days of Pace Prints. She printed for many artists while at Pace, including Chuck Close and Jim Dine (for whom she still prints every summer in Walla Walla). Ruth worked closely with Bill Hall and Julia D’Amario at Pace, both of whom are previous guests on Platemark: Bill is featured in s3e6 and Julia appears in s3e15.
Ruth has collaborated with more than 50 of the world's greatest artists—on prints (some for Pace editions, some on her own) and very special limited edition artist books. In addition to Dine and Close, she has collborated on editions with such art-world luminaries as Robert Ryman, Mary Heilmann, Kiki Smith, Claes Oldenberg, Bob Holman, Robert Creeley, Jessica Stockholder, Jeremy Sigler, Donald Traever, Al Held, and John Chamberlain. Lingen's work can be found in the collection of The Metropolitan Museum of Art, The Getty, and the Brooklyn Museum, as well as in more than 20 libraries, from the New York Public Library to the Harvard University Library.
Louise Nevelson (American, born Ukraine, 1899–1988). Untitled, 1985. Cast paper relief. 14 x 14 ¼ in. Published by Pace Editions. Edition of 250.
Suzanne Anker (American, born 1946). Organic Abstract Cast Paper Sculpture, 1990. 20 x 20 in. Unique.
Chuck Close (American, 1940–2021). Emma, 2002. Woodcut in the Ukiyo-e style. 43 x 35 in. (109.2 x 88.9 cm.). Published by Pace Editions. Edition of 55.
Chuck Close (American, 1940–2021). Phil / Manipulated, 1982. 24-color handmade paper. Published by Pace Editions. Edition of 20.
Chuck Close (American, 1940–2021). Roy Paper/Pulp, 2009. Stenciled handmade paper. 35 ½ x 28 ½ in. Published by Pace Editions. Edition of 30.
Chuck Close (American, 1940–2021). Self Portrait/Spitbite, 1988. Spitbite etching. Sheet: 20 ½ x 15 5/8 in. Published by Pace Editions. Edition of 50.
Chuck Close (American, 1940–2021). Lucas/Woodcut, 1993. Color woodcut with color stencil (pochoir). Sheet: 1181 × 914 mm. (46 1/2 × 36 in.). Baltimore Museum of Art. Published by Pace Editions. Edition of 50.
Chuck Close (American, 1940–2021). Self-Portrait I (Dots), 1997. Reduction linoleum cut. 24 x 18 in. Published by Pace Editions. Edition of 70.
Ed Ruscha (American, born 1937). Clown Speedo, 1998. Aquatint. Sheet: 36 x 26 ½ in.; plate: 27 ¾ x 20 in. Published by Pace Editions. Edition of 35.
Francesco Clemente (American, born Italy, 1952). Art Pro Choice II, 1991. Three-color relief print. Sheet: 20 x 16 in. Published by NARAL. Edition of 125.
Alan Shields (American, 1944–2005). Synchromesh, from the series Soft and Fluffy Gears, 1987. Punched, glued, sewn, and assembled handmade paper. Sheet: 21 x 18 ½ in. Co-published by Pace Editions and Tandem Press. Edition of 15.
Michael Young (American, born 1952). Impossibility of Perpetual Motion I, 1990. Relief print with screenprint and sand. 33 1/2 x 29 ¼ in. Published by Spring Street Workshop. Edition of 35.
Jane Hammond (American, born 1950), Untitled (monoprint), 2008. Relief print with collage elements created using lithography, linoleum cut, rubber stamp, digital and relief printing, with additional watercolor and hand coloring by the artist. 30 x 22 in. Published by Pace Editions. Unique.
Jim Dine (American, born 1955). A Garden, 2010. Two-color woodcut. Sheet: 58 x 44 in. Edition of 12.
Jim Dine (American, born 1955). The Felt Skull, 1994. Woodcut on felt. 39½ x 31 ½. Published by Pace Editions. Edition of 7.
Jim Dine (American, born 1935). Love and Grief, 1992. Diptych of woodcuts with hand coloring. Overall: 41¼ × 65½ in. (105 × 166 cm.). Published by Pace Editions. Edition of 17.
Jim Dine (American, born 1935). The Orange Birthday Bathrobe, 2010. Lithograph, woodcut, etching, and rubber stamp. Sheet: 138.4 x 97.8 cm. Cristea Roberts Gallery. Edition of 28.
Jim Dine (American, born 1935). Bleeding Boy, 2008. Linoleum cut. Image: 64 3/4 × 38 5/8 in. (164.5 × 98.1 cm.); Sheet: 68 1/4 × 40 in. (173.4 × 101.6 cm.). Allen Memorial Art Museum, Oberlin College. Edition of 14.
Jim Dine (American, born 1935). Raven on Lebanese Border, 2000. Softground etching and woodcut with white hand coloring. Sheet: 781 × 864 mm. (30 3/4 × 34 in.); plate: 676 × 768 mm. (26 5/8 × 30 1/4 in.). Baltimore Museum of Art, Baltimore, MD. Published by Pace Editions. Edition of 8.
Robert Ryman (American, 1930–2019). Conversion, 2001. Three-color relief print on aluminum. 15 x 15 in. Published by Pace Editions. Edition of 25.
John Chamberlain (American, 1927–2011). Conversations with Myself, 1992. Artist book, with letterpess and additional drypoint print. Page: 6 x 6 in. Published by Pace Editions. Edition of 108.
Jim Dine (American, born 1935), printed by Julia D’Amario. Astonishing, Health and Sunshine, 2021. Spitbite aquatint, drypoint and lithograph with hand-coloring on Shiramibe paper, mounted onto three sheets of Hahnemuhle Copperplate White paper. Sheet (each): 142.7 x 83.1 cm.; image (each): 125.7 x 68 cm. Cristea Roberts Gallery. Edition of 11.
Jim Dine (American, born 1935). Electrolyte In Blue, 2023. Bound volume with letterpress, intaglio, and lithography. Edition of 7.
Spreads from Jim Dine (American, born 1935). Electrolyte In Blue, 2023. Bound volume with letterpress, intaglio, and lithography. Edition of 7.
Michael Stipe (American, born 1960). The Name Project, 2022. Artist’s book project compiled from 45 editioned book objects. Sizes vary. Editions vary between 4 and 6.
USEFUL LINKS
Line Press Limited https://www.linepresslimited.com/
Timelapse of Roy paper pulp print being made https://www.youtube.com/watch?v=7upgJA6Azpo
Ruth describing making Lucas paper pulp. Good one. https://www.youtube.com/watch?v=lZttkbmtqKo
Ruth’s talk at William Paterson University Art Galleries https://www.youtube.com/watch?v=J6lq3x3O1HU
What is it about prints and printmaking that draws such fervent practitioners, collectors, and fans? How are prints relevant to all our lives? What do all those people in the "print ecosystem" do anyway? Give Platemark a listen.
Platemark podcast's host Ann Shafer looks at prints and printmaking in the context of museums, the market, critiques, and the print ecosystem in series one. Series two offers a history of prints and printmaking in the West. Series three offers interviews with the colorful characters of the print ecosystem, which is full of the nicest people in the art world. Join us and the wonderful fans of prints and printmaking.
Platemark podcast offers a bit of art history, artistic creativity, and introduces listeners to artists, printers, dealers, print publishers, gallerists, art historians, curators, and scholars.
Episodes are released on Tuesdays. Images for each episode are available in the show notes at platemarkpodcast.com.
In s3e32 of Platemark, host Ann Shafer speaks with Ad Stijnman, an independent scholar of historical printmaking processes, specializing in manual intaglio printmaking techniques. He is also a professional printmaker.
Ad is the go-to guy on all sorts of things. When he speaks, we listen. Beaming in from Amsterdam, our conversation covers all sorts of topics from paper sizing and watermarks to acids and chine collé. We talk about teaching people to look, really look, and be able to describe what they are seeing. We talk about the troubling lack of an internationally shared vocabulary—what color is fawn or taupe, anyway? We talk about why neither of us wears gloves to handle works on paper except in very special circumstances. And, we talk about producing an invaluable and exhaustive (if not complete) list of terms and abbreviations found in print addresses: https://9ea6427a-9293-483f-80d4-9523d4ed999b.filesusr.com/ugd/6b3a67_c8b34f39781542deabab39e8c132c430.pdf.
Ad has lectured and published widely on the materials and techniques of intaglio processes going back to their beginnings. His seminal, award-winning book Engraving and Etching 1400–2000: A History of the Development of Manual Intaglio Printmaking Processes (2012) is on any serious scholar’s bookshelf. Together with Elizabeth Savage, he co-edited the award-winning book Printing Colour 1400–1700: History, Techniques, Functions and Receptions (2015). His curatorial activities include exhibitions on medieval prints, early modern colour prints and Rembrandt’s etchings on Japanese paper.
Ad Stijnman (Netherlandish, born 1957). Nagasaki Ki, 2007. Installation of ten prints: engraving, mezzotint, relief etching, white Johannot paper. Each print 50 x 32.5 cm.; overall size 200 x 140 cm.
Julian Trevelyan. Etching: Modern Methods of Intaglio Printmaking. New York: Watson-Guptill Publications, 1964.
Ad Stijnman. Etsvademecum. De Bilt: Cantecleer, 1985.
Virtuelles Kupferstichkabinett: http://www.virtuelles-kupferstichkabinett.de/de/.
Rembrandt van Rijn (Dutch, 1606–1669). The Three Crosses, 1653. Drypoint on vellum. Plate: 37.2 x 42.8 cm (14 5/8 x 16 7/8 in.); sheet: 37.8 x 44.1 cm (14 7/8 x 17 3/8 in.). National Gallery of Art, Washington, D.C.
Ad Stijnman, ed. Engraving and Etching 1400–2000: A History of the Development of Manual Intaglio Printmaking Processes. Paderborn, Germany: Brill | Hes & De Graaf, 2012.
Ad Stijnman and Elizabeth Savage, eds. Printing Colour 1400–1700: History, Techniques, Functions and Receptions. Amsterdam: Brill, 2015.
Yuriko Miyosi (Japanese, born 1962) and Ad Stijnman (Netherlandish, born 1957). 24 Roundels, 2020. Circular papers by Miyosi, plates and printing by Stijnman. Colour inks, chine collé, goldleaf. Each roundel: approximately 12 cm.
Marion Bouwhuis (Netherlandish, born 1951), Yuriko Miyosi (Japanese, born 1962), and Ad Stijnman (Netherlandish, born 1957). Covid 19 Exchange Print. Etching printed in blue on white Arches by Bouwhuis, pink circular paper by Miyoshi, etching printed in purple with chine collé and goldleaf by Stijnman. Sheet: 25 x 32.5 cm.
Ad Stijnman (Netherlandish, born 1957). Column, 1999. Mezzotint on chine collé on white Zerkall paper. Plate: 16 x 21.6 cm.
Ad Stijnman (Netherlandish, born 1957). Column, 1999. Mezzotint on white Zerkall paper. Plate: 16 x 21.6 cm.
Joris Hoefnagel (Flemish, 1542–1600). Plate 10: A Lion and a Civet Cat from Volume II, Animalia Qvadrvpedia et Reptilia (Terra), c. 1575–80. Watercolor and gouache on vellum. Page: 14.3 x 18.4 c.m (5 5/8 x 7 ¼ in.). National Gallery of Art, Washington, D.C.
Scholarly Colloquium: Telling the From Jikji to Gutenberg Story. 2023. Video. Retrieved from the Library of Congress, www.loc.gov/item/webcast-10808.
James Ensor (Belgian, 1860–1949). Death Chasing the Flock of Mortals, 1896. Etching. Plate: 23.7 × 18.1 cm. (9 3/8 × 7 3/16 in.); sheet: 29 × 22.1 cm. (11 7/16 × 8 3/4 in.). Art Institute of Chicago, Chicago.
HELPFUL LINKS
Ad Stijnman’s scholarly website: https://tulip88x.wixsite.com/ad--stijnman.
Ad Stijnman’s list of terms and abbreviations in print addresses: https://9ea6427a-9293-483f-80d4-9523d4ed999b.filesusr.com/ugd/6b3a67_c8b34f39781542deabab39e8c132c430.pdf.
Association of Print Scholars: https://printscholars.org/.
In s2e29, Platemark hosts Ann Shafer and Tru Ludwig talk about Claude Lorrain, the arbiter of landscape painting in the 17th century. He worked most of his life in Rome and elevated landscape as a subject up the academic hierarchy by including small figural groups and naming the compositions with mythological or biblical subjects. He’s known by various names that can be confusing. He was born Claude Gelée in the independent duchy of Lorraine, which is why the French call him le Lorrain. The English, who collected his works assiduously and even now have the highest number of his works (by country), refer to him simple as Claude.
He created an amazing cache of ink and wash drawings of each of his painted compositions in a first catalogue raisonné of sorts. He dubbed this book the Liber Veritatis («the book of truth»). Claude told his biographer Filippo Baldinucci that he kept the record as a defense against others passing off their work as his. This bound group of drawings was collected and owned by the Dukes of Devonshire from the 1720s until 1957 when it was given to the British Museum (in lieu of estate taxes upon the death of Victor Christian William Cavendish, the 9th Duke of Devonshire).
While Claude died in 1682, his renown in England was enough to prompt the print publisher John Boydell to hire artist Richard Earlom to create prints after the drawings nearly one hundred years after Claude’s death. Two hundred etchings with mezzotint were created between 1774 and 1777, and were published in two volumes as Liber Veritatis. Or, A Collection of Two Hundred Prints, After the Original Designs of Claude le Lorrain, in the Collection of His Grace the Duke of Devonshire, Executed by Richard Earlom, in the Manner and Taste of the Drawings.... Later, a third volume of an additional 100 prints was published in 1819.
Earlom used etching to mimic Claude’s ink lines and mezzotint for the wash areas. They were printed in brown ink to mimic iron gall ink. Hugely influential in England, the books were popular with collectors and were used by artists as models for copying. The Liber Veritatis also inspired J.M.W. Turner to produce a similar project of 71 prints after Turner’s painted compositions, which he called Liber Studiorum.
They may appear old fashioned to contemporary viewers, but rest assured, landscape was just getting its legs under it. Boring imagery? Maybe. But important for our story of the history of prints in the West.
Episode image: Claude Lorrain (French, c. 1600–1682). Seaport with Ulysses Returning Chryseis to Her Father, c. 1644. Pen and brown ink with brown and blue wash, heightened with white on blue paper. 19.8 x 26.2 cm. British Museum, London.
Gian Lorenzo Bernini (Italian, 1598–1680). Bust of Louis XIV, 1665. Marble. Palace of Versailles.
Hyacinth Rigaud (French, 1659–1743). Louis VIX, 1700–01. Oil on canvas. 277 x 194 cm. (109 x 76 3/8 in.) The Louvre, Paris.
Claude Mellan (French, 1598–1688). Louis XIV as a Child, 1618–1688. Engraving. Sheet (trimmed to platemark): 13 9/16 x 9 1/2 in. (34.5 x 24.2 cm.). Metropolitan Museum of Art, New York.
Federico Barocci (Italian, 1528–1612). The Stigmatization of St. Francis, after the painting in the Church of the Capuccines, Urbino, c. 1575. Etching, engraving, and drypoint. Plate: 228 x 145 mm. (9 x 5 ¾ in.). Achenbach Foundation for Graphic Arts, Fine Arts Museum of San Francisco.
Federico Barocci (Italian, 1528–1612). The Annunciation, c. 1585. Etching and engraving. Sheet (trimmed within platemark): 17 3/8 × 12 5/16 in. (441 × 312 mm.). Metropolitan Museum of Art, New York.
Rembrandt (Dutch, 1606–1669). Christ Crucified between the Two Thieves: The Three Crosses (iv/iv state), c. 1660. Drypoint. Sheet (trimmed to platemark): 15 1/16 x 17 1/2 in. (382 x 444 mm.). Metropolitan Museum of Art, New York.
Annibale Carracci (Italian, c. 1557–c. 1642). St. Jerome in the Wilderness, c. 1591. Etching and engraving. Sheet (trimmed to platemark) : 24.8 x 19.2 cm. (9 ¾ x 7 9/16 in.). Metropolitan Museum of Art, New York.
Guido Reni (Italian, 1575–1642). The Holy Family, c. 1595–1600. Etching and engraving. Sheet (trimmed to platemark): 20 x 14 cm. (7 7/8 x 5 12 in.). Metropolitan Museum of Art, New York.
Jusepe de Ribera (Spanish, 1591–1652). The Penitence of St. Peter. 1621. Etching and engraving. Sheet (trimmed to platemark): 31.8 x 24.2 cm. (12 ½ x 9 ½ in.). Metropolitan Museum of Art, New York.
Salvator Rosa (Italian, 1615–1673). Jason and the Dragon, 1663–64. Etching and drypoint. Plate: 13 5/16 × 8 9/16 in. (33.8 × 21.8 cm.); sheet: 14 5/16 × 9 15/16 in. (36.4 × 25.3 cm.). Metropolitan Museum of Art, New York.
Gian Lorenzo Bernini (Italian, 1598–1680). The Ecstasy of Saint Teresa, 1647-52. White marble set in an elevated aedicule in the Cornaro Chapel, Santa Maria della Vittoria, Rome.
Caravaggio (Italian, 1571–1610). Conversion of Saint Paul on the Way to Damascus, 1600–01. Oil on canvas. 230 × 175 cm. (91 × 69 in.). Santa Maria del Popolo, Rome.
Andrea Pozzo (Italian, 1642–1709). Assumption of St. Francis, c. 1685. Sant’Ignazio, Rome.
Pietro Testa (Italian, 1612–1650). The Martyrdom of St. Erasmus, c. 1630. Etching. Sheet: (trimmed to platemark): 27.9 x 18.9 cm. (11 7 7/16 in.). Metropolitan Museum of Art, New York.
Jacques Callot (French, 1592–1635). Plate eleven: The Hanging from the series The Large Miseries and Misfortunes of War, 1633. Etching. Sheet: 4 1/8 x 8 1/4 in. (10.5 x 21 cm.); plate: 3 1/4 x 7 5/16 in. (8.2 x 18.6 cm.). Metropolitan Museum of Art, New York.
Peter Paul Rubens (Flemish, 1577–1640). The Consequences of War, 1637–38. Oil on canvas mounted to panel. 206 x 342 cm. (81 x 134 ½ in.). Palazzo Pitti, Florence.
Diego Velasquez (Spanish, 1599–1660). Surrender at Breda, 1634–35. Oil on canvas. 307 x 367 cm. (121 x 144 in.) Museo del Prado, Madrid.
Callot’s Hanging Tree spreads word of the facts of the attack on Nancy, whereas paintings can only be in one place (Rubens’ Consequences of War and Velasquez’s Surrender at Breda).
Jean Marot (French, 1619–1679), after Gian Lorenzo Bernini (Italian, 1598–1680). The Louvre in Paris, elevation of the principal facade facing Saint-Germain l'Auxerrois. Plate 8 from Jacques-François Blondel’s Architecture françoise, volume 4, book 6.
Nicolas Poussin (French, 1594–1665). Et in Arcadia ego, 1637–38. Oil on canvas. 85 × 121 cm. (34 1/4 × 47 1/4 in.). Louvre, Paris.
Nicolas Poussin (French, 1594–1665). Landscape with St. John Patmos, 1640. Oil on canvas. 100.3 × 136.4 cm (39 1/2 × 53 5/8 in.). Art Institute of Chicago, Chicago.
Nicolas Poussin (French, 1594–1665). The Abduction of the Sabine Women, c. 1633–34. Oil on canvas. 60 7/8 x 82 5/8 in. (154.6 x 209.9 cm.). Metropolitan Museum of Art, New York.
Rembrandt van Rijn (Dutch, 1606–1669). Landscape with the Good Samaritan, 1638. Oil on oak panel. 46.2 × 65.5 cm. (18 × 25 3/4 in.). Czartorynski Museum, Kraków.
Jacob van Ruisdael (Dutch, 1628/1629–1682). View of Haarlem with Bleaching Fields, c. 1670–75. Oil on canvas. 62.2 x 55.2 cm. (24 ½ x 21 ¾ in.). Kunsthaus Zurich, Zurich.
Thomas Cole (American, born England, 1801–1848). Catskill Mountains Landscape, c. 1826. Oil on panel. 15 15/16 x 21 7/8 in. Sheldon Museum, University of Nebraska-Lincoln.
Tru’s diagrams of Poussin’s Et in Arcadia Ego.
Claude Lorrain (French, c. 1600–1682). Self-Portrait. Oil on canvas. Musée des Beaux-Arts de Tours.
Richard Earlom (British, 1743–1822), after Claude Lorrain (French, c. 1600–1682). Frontispiece for the Liber Studiorum, 1777. Plate: 7 x 5 in. New York Public Library.
Claude Lorrain (French, c. 1600–1682). Seaport with the Embarkation of the Queen of Sheba, 1648. Oil on canvas. 149.1 × 196.7 cm. (58 3/4 × 77 1/2 in.). National Gallery, London.
One of many Claude Lorrain paintings with its corresponding diagram.
Several diagrams showing compositional plans according to the Golden Ratio.
Claude Lorrain (French, c. 1600–1682). Rustic Dance, 1637. Oil on canvas. Galleria degli Uffizi, Florence.
Claude Lorrain (French, c. 1600–1682). The Village Boerendans Dance, c. 1637. Etching. 29.7 x 24.1 cm. (11 ¾ x 9 ½ in.). Alamy Stock Photo.
Claude Lorrain (French, c. 1600–1682). Harbor Scene with Rising, 1634. Etching. Sheet: 5 9/16 x 8 1/4 in. (14.1 x 21 cm.); plate: 5 1/8 x 7 13/16 in. (13 x 19.8 cm.). Metropolitan Museum of Art, New York.
Claude Lorrain (French, c. 1600–1682). Harbor Scene with Rising Sun, c. 1649. Oil on canvas. 97 x 119 cm. (38 x 46 ¾ in.). Hermitage Museum, St. Petersburg.
Claude Lorrain (French, c. 1600–1682). Seaport with Ulysses Returning Chryseis to Her Father, c. 1644. Pen and brown ink with brown and blue wash, heightened with white on blue paper. 19.8 x 26.2 cm. British Museum, London.
Claude Lorrain (French, c. 1600–1682). Seaport with Ulysses Returning Chryseis to Her Father, 1650s. Oil on canvas. 119 x 150 cm (46 ¾ x 59 in.). Louvre, Paris.
Claude Lorrain (French, c. 1600–1682). Landscape wirth Aeneas at Delos, c. 1672. Pen and brown ink and brown wash, with gray-brown wash. 19.3 x 25.6 cm. British Museum, London.
Claude Lorrain (French, c. 1600–1682). Landscape with Aeneas at Delos, 1672. Oil on canvas. 99.6 x 134.3 cm. National Gallery, London.
Claude Lorrain (French, c. 1600–1682). Index of owners of Claude’s paintings in the Liber Veritatis. British Museum, London.
Richard Earlom (British, 1743–1822), after Claude Lorrain (French, c. 1600–1682). Holy Family, from the Liber Veritatis, 1776. Etching and aquatint. Sheet : 23 x 29.4 cm.; plate: 20.8 x 26.3 cm. Pushkin State Museum of Fine Arts, Moscow.
Richard Earlom (British, 1743–1822), after Claude Lorrain (French, c. 1600–1682), published by John Boydell (British, 1719–1804). Liber veritatis: or, A collection of prints, after the original designs of Claude le Lorrain ; in the collection of His Grace the Duke of Devonshire, 1777–1819. New York Public Library, New York.
John Boydell (British, 1719–1804), publisher. Dedication from Liber veritatis: or, A collection of prints, after the original designs of Claude le Lorrain ; in the collection of His Grace the Duke of Devonshire, 1777–1819. New York Public Library, New York.
James Mallord William Turner (British, 1775–1851). Fifth Plague of Egypt, from the Liber Studiorum, part III, plate 16), 1808. Etching only (before first state). Plate: 7 x 10 in. (17.8 x 25.4 cm.); sheet: 8 1/8 x 25 in. (20.6 x 63.5 cm.). Metropolitan Museum of Art, New York.
James Mallord William Turner (British, 1775–1851) and Charles Turner (British, 1774–1857). Fifth Plague of Egypt, from the Liber Studiorum, part III, plate 16), 1808. Etching and mezzotint (first state of three). Plate: 7 1/16 x 10 1/4 in. (17.9 x 26 cm.); sheet: 8 1/4 x 11 7/16 in. (21 x 29.1 cm.). Metropolitan Museum of Art, New York.
Claude Glass. Science Museum, London.
Richard Earlom (British, 1743–1822), after Claude Lorrain (French, c. 1600–1682), published by John Boydell (British, 1719–1804). No. 154 from Liber veritatis: or, A collection of prints, after the original designs of Claude le Lorrain ; in the collection of His Grace the Duke of Devonshire, 1777–1819. New York Public Library, New York.
Richard Earlom (British, 1743–1822), after Claude Lorrain (French, c. 1600–1682), published by John Boydell (British, 1719–1804). No. 1 and 2 from Liber veritatis: or, A collection of prints, after the original designs of Claude le Lorrain ; in the collection of His Grace the Duke of Devonshire, 1777–1819. New York Public Library, New York.
Richard Earlom (British, 1743–1822), after Claude Lorrain (French, c. 1600–1682), published by John Boydell (British, 1719–1804). No. 3 and 4 from Liber veritatis: or, A collection of prints, after the original designs of Claude le Lorrain ; in the collection of His Grace the Duke of Devonshire, 1777–1819. New York Public Library, New York.
Richard Earlom (British, 1743–1822), after Claude Lorrain (French, c. 1600–1682), published by John Boydell (British, 1719–1804). No. 13 and 14 from Liber veritatis: or, A collection of prints, after the original designs of Claude le Lorrain ; in the collection of His Grace the Duke of Devonshire, 1777–1819. New York Public Library, New York.
Claude Mellan (French, 1598–1688). Moses Before the Burning Bush, 1663. Engraving. Sheet (trimmed to platemark): 9 7/16 x 13 3/16 in. (24 x 33.5 cm.). Metropolitan Museum of Art, New York.
Golden mean diagram, https://blog.artsper.com/en/a-closer-look/golden-ratio-in-art/.
In s3e31 of Platemark, host Ann Shafer speaks with Lothar Osterburg, artist, professor and leading expert on the fine art of photogravure. These are basically photographs transferred to copper plates and printed as etchings. (It's, of course, more complicated than that.) In this way, it is possible to get images to print with continuous tone, as opposed to half-tone, or stepped biting.
The results are luminous photographs printed with printer’s ink. It's a result that cannot be achieved in any other way. Of course, one can manipulate the plate after etching the photographic image into it, adding drypoint, engraving, and even further etching. These hybridizations are intriguing, rare, and special. There are very few practitioners who are truly experts in it.
Lothar helps us understand the process, and we take a look at both his work as a master printer at Crown Point Press in the 1990s, and his own work in which he builds sculptures (often in miniature) and photographs them to create eerie scenes that recall the antique and conjure fantasy.
Episode image: Elizabeth Brown
Christian Boltanski (French, 1944–2021). Untitled, from the portfolio Gymnasium Chases, 1991. Portfolio of 24 photogravures. Plate: 461 x 319 mm. (18 1/8 x 12 9/16 in.); sheet: 592 x 419 mm. (23 5/16 x 16 ½ in.). National Gallery of Art, Washington, D.C.
John Baldessari (American, 1931–2020). Hand and Chin (with Entwined Hands), 1991. Photogravure with color spit bite aquatint. Plate: 24 x 14 in.; sheet: 33 x 22 in. Published by Crown Point Press.
Markus Raetz (German, 1941–2020). Reflexion, 1991. Set of three photogravures with aquatint. Plate (each): 19 x 26 in.; sheet (each) 36 x 42 in. Published by Crown Point Press.
Francis Bacon's studio at 7 Reece Mews, London, 1998. Photo: Perry Ogden. © Estate of Francis Bacon.
Lothar Osterburg (American, born Germany, 1961). Lunch Box Studio, 2022. Lunch Box, lens, paper, paint, LED lights. 10 ½ x 5 x 8 in.
Lothar Osterburg (American, born Germany, 1961). Gloomy Artist’s Studio, 2022. Photogravure with surface roll. 11 x 11 in.
Lothar Osterburg (American, born Germany, 1961). The Tower of Babel, 2017. Wood, cardstock, and book pages. 7 x 7 x 28 feet. 2017. Installation at the Esther Massry Gallery, Albany, New York.
Ole Worm (Danish, 1588–1654). Frontispiece from Museum Wormianum seu Historia Rerum Rariorum. Amsterdam: 1655. Special Collections, University of Reading.
Lothar Osterburg (American, born Germany, 1961). Cabinet of Buttons, 2022. Wood, lens, Japanese, silk, buttons, metal, paper, and LED lights. 11 x 13 x 9 in.
Lothar Osterburg (American, born Germany, 1961). Cabinet of Buttons, 2023. Photogravure with surface roll. 11 x 11 in.
Rembrandt (Dutch, 1606–1669). St. Jerome in a Dark Chamber, 1642. Etching, engraving, and drypoint. Sheet (trimmed to platemark): 6 × 6 15/16 in. (15.3 × 17.6 cm.). Metropolitan Museum of Art, New York.
Lothar Osterburg (American, born Germany, 1961). Portfolio Review, 2022. Wood, paper, glass, LED lights.
Lothar Osterburg (American, born Germany, 1961). Portfolio Review, 2023. Photogravure. 16 x 21 in.
Lothar Osterburg (American, born Germany, 1961). A Shakerbox Full of Chairs, 2022. Shaker box with lens, paper, LED lights. 11 x 8 x 5 in.
Lothar Osterburg (American, born Germany, 1961). A Room Full of Chairs, 2023. Photogravure with surface roll. 10 x 14 in.
Leo Zhao (American, born 1999). Printmaker’s Aquarium, 2023. Various techniques. Sheet: 30 x 44 in.
Key to techniques used.
In this bonus episode, Platemark host Ann Shafer coaxed co-host Tru Ludwig into talking about being an artist and art historian, and how being a professor in both disciplines plays out. It's a fascinating confluence of ideas and passions in one person.
Fun fact: Käthe Kollwitz is Tru's patronus. Another fun fact, Käthe is pronounced Kay-tuh.
Tru's website: thepurplecrayonpress.com.
In Platemark s3e30, host Ann Shafer speaks with Ruth Fine, retired curator from the National Gallery of Art. Ruth was curator of modern prints and drawings there from 1980–2002, followed by an additional period working on special projects in modern art. Since her retirement in 2010, Ruth has been working on exhibition and writing projects, as well as sitting on the boards of the Roy Lichtenstein Foundation, the Helen Frankenthaler Foundation, and others.
As we are releasing this episode, Ruth has an exhibition up at the Phillips Collection featuring the photographic output of Frank Stewart. The show is up June 10–September 3, 2023.
Ruth is not only a consummate scholar, but also is an artist herself, bringing to her scholarship a deep understanding of making. She knew well many of the artists who were the subjects of her projects and she has wonderful stories to tell.
Join our new FB group to talk about prints, printmaking, and Platemark: https://www.facebook.com/groups/234857906002771
Episode image © Frank Stewart
Lessing Rosenwald’s residence Alverthorpe in Jenkintown, PA, now houses the Abington Art Center.
The catalogue raisonné of the print workshop Gemini G.E.L. at the National Gallery of Art, Washington, D.C.
Mary Lee Corlett and Ruth Fine. The Prints of Roy Lichtenstein: A Catalogue Raisonné 1948–1993. Washington D.C.: National Gallery of Art, 1994.
Ruth Fine and Robert Looney. The Prints of Benton Murdoch Spruance: A Catalogue Raisonné. Philadelphia: University of Pennsylvania Press, 1986.
David Bindman et al. Body Language: The Art of Larry Day. Exh cat. Woodmere Art Museum. Philadelphia: University of Pennsylvania Press, 2021.
Ruth Fine et al. Frank Stewart’s Nexus: An American Photographer’s Journey, 1960s to the Present. Exh cat. The Phillips Collection. New York: Rizzoli, 2023.
Helen Frankenthaler (American, 1928–2011). Untitled, 1967. Four-color screenprint. 25 3/4 x 17 7/8 in. (65.4 x 45.4 cm.). © 2023 Helen Frankenthaler Foundation, Inc. / Artists Rights Society (ARS), NY / Chiron Press, NY.
Helen Frankenthaler (American, 1928–2011). Grove, 1991. Ten-color woodcut. 38 ½ x 25 ½ in. (97.8 x 64.8 cm.). © 2023 Helen Frankenthaler Foundation, Inc. / Artists Rights Society (ARS), NY / Garner Tullis, NY.
Roy Lichtenstein (American, 1923–1997). Storming the Castle, 1950. Etching, aquatint, and engraving. Sheet: 16 ¼ x 22 ¾ in. (41.3 x 57.8 cm.); plate: 11 7/8 x 15 15/16 in. (30.2 x 40.5 cm.). © Estate of Roy Lichtenstein.
Roy Lichtenstein (American, 1923–1997). Published by Gemini G.E.L. The Student, from the series Expressionist Woodcut, 1980. Color woodcut with debossing. Sheet: 97.5 x 86 cm. (38 1/4 x 34 in.); image: 80.6 x 69.2 cm. (31 3/4 x 27 1/4 in.). © Estate of Roy Lichtenstein.
Frank Stewart (American, born 1949). Alma W. Thomas, 1976. Gelatin silver print. Bowdoin College Museum of Art, Brunswick, Maine, Museum Purchase, Gridley W. Tarbell II Fund. © Frank Stewart.
Frank Stewart (American, born 1949). The Bow, Modena, Italy, 1996. Inkjet print. Andre Kimo Stone Guess and Cheryl Peterson Guess Family Collection, Louisville, KY. © Frank Stewart.
Frank Stewart (American, born 1949). Tailor Shop, Abidjan, Cote d'Ivoire, 1974. Gelatin silver print. Sing Lathan and Bining Taylor. © Frank Stewart.
Frank Stewart (American, born 1949). Three Young Camels, Mali, 2006. George Nelson Preston, Museum of Art and Origins, New York. © Frank Stewart.
Frank Stewart (American, born 1949). Radio Players Series, 1978. Gelatin silver print. Sing Lathan and Bining Taylor. © Frank Stewart.
USEFUL LINKS:
Link to Frank Stewart exhibition at the Phillips Collection: https://www.phillipscollection.org/event/2023-06-10-frank-stewarts-nexus
YouTube video with Ruth Fine and TK Smith in the exhibition The Art of Larry Day: https://youtu.be/Ao6Rgn6jhok
YouTube video of Ruth Fine’s talk on Larry Day at the Woodmere Art Museum: https://youtu.be/MamE6rbOuMg
In Platemark s3e29, host Ann Shafer speaks with April Vollmer, an artist working in mokuhanga (Japanese color woodblock printing), who also wrote the indispensable guide to that form: Japanese Woodblock Print Workshop (Berkeley: Watson-Guptill Publications, 2015).
What's mokuhanga, you ask? It's a method developed in Japan that was used to print images that are probably familiar to you, like Hokusai's Great Wave. It allows artists to work with water-based inks (more environmentally friendly) on multiple blocks to build up images, which are printed by hand using a flat paddle called a baren. Each color is carried on a separately carved block and is layered during printing. It means a lot of carving, but it also means one doesn't need a press, chemicals, or a ton of equipment. In other words, it can be done at home in your kitchen.
The range of work made possible in mokuhanga is impressive. Once used for ukiyo-e prints (pictures of the floating world) in the Edo period, now contemporary artists from the world over are experimenting with its possibilities. Including April Vollmer.
Episode image: Portia Shao
Shiko Munakata (Japanese, 1903–1975). Night Birds (the fence of…), c. 1967. Sumizuri-e. 19.1 x 29.3 cm. Scholten Japanese Art, New York.
April Vollmer in her studio.
April Vollmer’s studio.
Yasu Shibata (Japanese, born 1968). 6 White Squares, 2014. Set of six mokuhanga prints. Sheet (each): 11 x 11 in. Aspinwall Editions, Hudson.
Tetsuya Noda (Japanese, born 1940). Diary: April 24th ’97, 1997. Woodblock and screenprint. Sheet: 74.1 x 52.8 cm. British Museum, London.
Keiko Hara (Japanese, born 1942). Published by Lily Press. Verse Space—Light of Black Hole, Monotype with collaged mokuhanga woodblock print. Sheet: 30 x 26 in.
Rebecca Salter (British, born 1955). Into the Light II, 2011. Woodblock on Japanese paper. 60 x 90 cm. (23 ½ x 35 ½ in.).
Utagawa Kuniyoshi (Japanese, 1797–1861). Earth Spider Attacking Raiko, c. 1820. Color woodblock print. 14 5/8 x 29 5/8 in. Fuji Arts, Ann Arbor.
April Vollmer (American, born 1951). Generation, 2002. Mokuhanga on washi. Sheet: 26 x 26 in.
Beyshehir Seljuk rug, 13th century Turkey. Found in the Eshrefoglu Mosque in Beyshehir in 1929 by R.M. Riefshahl. Now in the Konya Museum of Ethnography, Konya, Turkey.
April Vollmer (American, born 1951). Blackout, 2013. Mokuhanga on Gozen washi. Sheet: 38 x 26 in.
April Vollmer (American, born 1951). Eye Cup (Counterfeit), 2008. Mokuhanga and rubber stamp on washi. Sheet: 26 x 11 in.
April Vollmer (American, born 1951). Secret Flower, 2006. Mokuhanga. Sheet: 15 ½ x 15 ½ in.
April Vollmer (American, born 1951). Migrating Gyre, 2008. Mokuhanga. Sheet: 26 x 26 in.
April Vollmer (American, born 1951), printed by Art Print Residence and published by California Society of Printmakers. Great Egret Hunting, from the portfolio Birds on the Edge, 2021. Photo-etching. Sheet: 19 ½ x 15 in.
USEFUL LINKS
April’s website: https://www.aprilvollmer.com/
Mokuhanga resources: https://www.aprilvollmer.com/category/mokuhanga-resources/
April’s Facebook: https://www.facebook.com/april.vollmer
April’s Instagram: https://www.instagram.com/aprilvollmer_artist/
April Vollmer. Japanese Woodblock Print Workshop: A Modern Guide to the Ancient Art of Mokuhanga. New York: Penguin Random House, 2015. https://www.penguinrandomhouse.com/books/231579/japanese-woodblock-print-workshop-by-april-vollmer/
April Vollmer. “Birds on the Edge: Collaboration and Change.” The California Printmaker: The Journal of the California Society of Printmakers. (2023 Changing Gears Edition) April 2023.
https://www.aprilvollmer.com/wp-content/uploads/2023/04/CSP-Birds-on-the-Edge-Vollmer.pdf
Nature in the Floating World: Images of Nature in Japanese and Chinese Art. Ulrich Museum of Art, Wichita State University. January 26–May 10, 2023. https://ulrich.wichita.edu/ulrich_exhibition/nature-in-the-floating-world-images-of-nature-in-japanese-and-chinese-art-from-the-ulrich-collection/
International Mokuhanga Conference website
https://2021.mokuhanga.org/
International Mokuhanga Conference YouTube channel
https://www.youtube.com/channel/UCthTUa5XbGaZsaFf_vDeosg
Tuula Moilanen, Kari Laitinen, and Antti Tantuu. The Art and Craft of Woodblock Printmaking. Helsinki: Aalto ARTS Books, 2013.
https://www.amazon.com/Art-Craft-Woodblock-Printmaking-Watercolour/dp/B01FIWQXL4
Frogman’s Workshop
http://frogmans.net/#workshops
Anderson Ranch
https://www.andersonranch.org/
Kentler International Drawing Space, Red Hook
https://kentlergallery.org/
11 Women of Spirit Part 7. Salon Zürcher, New York. May 15–21, 2023.
https://www.galeriezurcher.com/salon-zrcher-28th-edition-11-women-of-spirit-part-7-may-15-21
In s3e28, Platemark host Ann Shafer speaks with Linda Hults, retired professor of art history from the College of Wooster, Wooster, Ohio. Linda wrote THE textbook on the history of Western prints, which any student of the topic will undoubtedly still have on their shelves. At nearly 1,000 pages, the book offers up more than 800 illustrations and covers print history from Guttenberg through the early 1980s. It also includes incredibly thorough notes, bibliography, glossary, and index. It is indispensable.
Since retirement, Linda continues to contribute to the field essays and articles ranging in subjects from the devil and witchcraft to masculinity.
Episode image by Linda Hults.
Parmigianino (Italian, 1503–1540). Madonna and Child with Angels (Madonna with the Long Neck), c. 1534–40. Oil on panel. 216.5 x 132.5 cm. Uffizi Gallery, Florence.
Johannes Vermeer (Dutch, 1632–1675). Woman Writing a Letter, with her Maid, c. 1670. Oil on canvas. 71.1 x 60.5 cm. National gallery of Ireland, Dublin.
Hendrick Goltzius (Dutch, 1558–1617). The Great Hercules, 1589. Engraving. Sheet (trimmed to platemark): 21 7/8 x 15 7/8 in. (555 x 404 mm.). Metropolitan Museum of Art, New York.
Thomas Rowlandson (British, 1557–1827). The Devil’s Darling, March 12, 1814. Etching with hand coloring. Plate: 13 3/4 × 9 3/4 in. (34.9 × 24.8 cm.); sheet: 14 3/4 × 10 7/16 in. (37.4 × 26.5 cm.). Metropolitan Museum of Art, New York.
Félicien Rops (Belgian, 1833–1898). The Sacrifice, drawing for Plate 1 of Les Sataniques, c. 1882. Tempera, colored pencil, black crayon, gouache, and gold on Pellée paper. 30 x 19.1 cm. (11 3/4 x 7 1/2 in.). Galerie Patrick Derom, Brussels (sold).
Frans Francken the Younger (Flemish, 1581–1642). Witches’ Sabbath, 1606. Oil on oak panel. 62 x 51 cm. Victoria and Albert Museum, London.
Salvator Rosa (Italian, 1615–1673). Scenes of Witchcraft: Day, c. 1645–49. Oil on canvas. 54.5 cm. (21 7/16 in.) The Cleveland Museum of Art, Cleveland.
Hieronymus Bosch (Netherlandish, 1450–1516). The Garden of Earthly Delights, 1490–1500. Oil on wood (triptych). Overall: 328.2 x 185.8 cm. Museo del Prado, Madrid.
Albrecht Dürer (German, 1471–1528). The Fall of Man or Adam and Eve, 1504. Engraving. 25.1 x 20 cm (9 7/8 x 7 7/8 in). Metropolitan Museum of Art, New York.
Édouard Manet (French, 1832–1883). Le Déjenuer sur l’herbe, 1863. Oil on canvas. 208 x 264.5 cm. Musée d’Orsay. Paris.
USEFUL LINKS
Linda C. Hults. The Print in the Western World: An Introductory History. Madison. University of Wisconsin Press, 1996.
Hyatt Mayor. Prints and People: A Social History of Printed Pictures. New York: Metropolitan Museum of Art, 1971.
Arthur M. Hind. A History of Engraving and Etching from the 15th Century to the Year 1914. London: Constable and Company Ltd., 1923. (Available from Dover Publications in a 3rd edition, 1963.)
William M. Ivins, Jr. Prints and Visual Communication. Boston, The MIT Press, 1969.
Linda C. Hults. “Van Mander’s Protean Artist: Hendrick Goltzius, Mythic Masculinity and Embodiment.” Art History, Vol. 44, No. 2 (April 2021), pp. 372–402.
James Watrous. A Century of American Printmaking: 1880–1980. Madison: University of Wisconsin Press, 1984.
Per Faxneld. Satanic Feminism: Lucifer as the Liberator of Woman in Nineteenth-Century Culture. Oxford: Oxford University Press, 2017.
Linda C. Hults. The Witch as Muse: Art, Gender, and Power in Early Modern Europe. Philadelphia: University of Pennsylvania Press, 2011.
Laurinda S. Dixon. Alchemical Imagery in Bosch’s Garden of Delights. Ann Arbor: University of Michigan Research Press, 1981.
Todd W. Reeser. Masculinities in Theory: An Introduction. 2nd edition. Hoboken: Wiley-Blackwell Press, 2023.
Jun Nakamura. Macho Men: Hypermasculinity in Dutch & American Prints. Philadelphia Museum of Art, August 27, 2022–March 20, 2023.
In Platemark s3e27, host Ann Shafer talks with Emma Nishimura, an artist and professor based in Toronto. Emma works in printmaking, photography, sculpture, and installation. Her work addresses ideas of inherited memory and trauma with a specific focus on the experiences her family and thousands of other Japanese Canadians endured during and following their forced incarceration during the Second World War.
Episode image: Ann Gaby-Trotz.
Emma Nishimura (Canadian, born 1982). Blending In, 2008. Photogravure and thread. 14 x 14 x 1 in. Courtesy of the artist.
Emma Nishimura (Canadian, born 1982). Kay age 17, 1937, 2017. Photoetching on flax and abaca. 3 x 3 x 2.5. Courtesy of the artist.
Furoshiki forms.
Three furoshiki forms from Rememory project on a shelf.
[INSTALLATION VIEW] Emma Nishimura: Rememory: Echoes and Archives. United Contemporary, Toronto. March 30–May 6, 2023.
Emma Nishimura (Canadian, born 1982). Keo Shibatani, 2018. Etching and hand painting on gampi with wax. Sheet: 17 x 22 in. Courtesy of the artist.
[DETAIL] Emma Nishimura (Canadian, born 1982). Keo Shibatani, 2018. Etching and hand painting on gampi with wax. Sheet: 17 x 22 in. Courtesy of the artist.
[INSTALLATION VIEW] Emma Nishimura (Canadian, born 1982). Constructed Narratives. Japanese Canadian Cultural Centre, Toronto, ON. 2015. Courtesy of the artist.
Emma Nishimura (Canadian, born 1982). Revelstoke, 2013. Etching on gampi with wax and thread. Sheet: 15 ½ x 9 ½ in. Courtesy of the artist.
[DETAIL] Emma Nishimura (Canadian, born 1982). Revelstoke, 2013. Etching on gampi with wax and thread. Sheet: 15 ½ x 9 ½ in. Courtesy of the artist.
Emma Nishimura (Canadian, born 1982). Slocan Lake, 2013. Etching on gampi with wax and thread. 25 ½ x 15 in. Courtesy of the artist.
[DETAIL] Emma Nishimura (Canadian, born 1982). Slocan Lake, 2013. Etching on gampi with wax and thread. 25 ½ x 15 in. Courtesy of the artist.
Michael Waugh (American, born 1967). Citizens United, 2020. Pen and black ink on Mylar. 45 x 69 in. (114.3 x 175.3 cm.). Courtesy Von Lintel Gallery.
[DETAIL] Michael Waugh (American, born 1967). Citizens United, 2020. Pen and black ink on Mylar. 45 x 69 in. (114.3 x 175.3 cm.). Courtesy Von Lintel Gallery.
Emma Nishimura (Canadian, born 1982). Printed by Atelje Larsen, Helsingborg, Sweden. Generational Echoes IV, 2019. Photoetching on Hahnemuhle paper. Sheet: 23 x 28 in. Courtesy of the artist.
Zarina (American, born India, 1937–2020). Atlas of My World (Six Works), 2001. Portfolio of 6 woodcuts. Sheet (each): 25 ½ x 19 ½ in. (64.8 x 49.5 cm.). Metropolitan Museum of Art, New York.
USEFUL LINKS
Emma’s website: https://www.emmanishimura.com/
Emma’s Instagram: @emma.nishimura
Atelje Larsen: https://www.ateljelarsen.com/
Paper Borders: Emma Nishimura and Tahir Carl Karmall. Print Center New York. October 10–December 18, 2019. https://www.printcenternewyork.org/paperborders
Emma Nishimura: Rememory: Echoes and Archives. United Contemporary, Toronto. March 30–May 6, 2023. https://www.unitedcontemporary.com/exhibitions/55-emma-nishimura-rememory-echoes-and-archives/
Platemark s3e26's guest is Jennifer Mack-Watkins, and artist and children's book illustrator based in Savannah, GA. Her work looks at social conformities that limit us and box us in, whether beauty, relationships, body image, power, or gender roles. Her work often features young Black children playing, celebrating their innocence and freedom. Jennifer recently illustrated a children's book called Ya Gotta Meet Mr. Pierce! The process of how the book came together with two authors and an illustrator is fascinating.
Platemark s3e25's guest is Michael Barnes, an artist and professor at Northern Illinois University who specializes in lithography. In addition to deep knowledge of how lithography works, Michael is also an historian of the technique and a collector.
In s2e28, hosts Ann Shafer and Tru Ludwig conclude their two-part conversation about Claude Mellan. An encounter with Mellan’s best known work, The Holy Face of Christ on St. Veronica's Sudarium, is to be a witness to greatness. The engraving is an extraordinary feat and is a high-water mark in the history of prints. The artist had a magical ability to create an image of unparalleled pathos and intricacy using a single spiraling line. In this episode, Tru and Ann talk about this miraculous engraving along with a few other goodies.
In s3e24, I speak with Steve Goddard, curator emeritus from the Spencer Museum of Art at the University of Kansas in Lawrence. Steve’s specialty is prints of northern Europe (1450–present), although he has been known to stray into the graphic arts of the World War One era, as well as the intersection of art and the biological sciences. Now retired and living in Estes Park, CO, Steve continues to research and write on favorite topics, and he is making prints himself.
In s2e27, hosts Ann Shafer and Tru Ludwig begin a two-part conversation about Claude Mellan, who engraved the most astonishing portrait of Jesus Christ in the history of art. In fact, if it weren’t for his print of the Holy Face on the Sudarium, Mellan may have dropped out of sight. But, he is worth looking at. He brought something to portraiture that is worth noting: a humanity and tenderness that one might think impossible to capture in engraving.
In Platemark s3e23, host Ann Shafer speaks with Kimberly Henrikson, Executive Director, Center for Contemporary Printmaking in Norwalk, CT. CCP offers myriad services from contract printing to artist’s residencies, classes, workshops, and exhibitions.
In Platemark s3e23, host Ann Shafer speaks with Kimberly Henrikson, Executive Director, Center for Contemporary Printmaking in Norwalk, CT. CCP offers myriad services from contract printing, to artist’s residencies, classes, workshops, and exhibitions.
In s2e26, hosts Ann Shafer and Tru Ludwig conclude their conversation about Jacques Callot, who is the first printmaker in Western art to record the atrocities of war. He heads up any list of artists using prints to spread news far and wide about societal ills through visual means. He created some 1,400 prints in his career (no paintings!) and made some of the most remarkable and smallest prints ever. This is a second half of the conversation. If you skipped the first half (s2e25), consider listening to it before this one.
In Platemark s3e22, host Ann Shafer talks with Laura Einstein, manager of the Gallery at the Met Store. Tucked away on the mezzanine of the bookstore at the Metropolitan Museum of Art is a gallery space where limited edition, fine art prints are available for purchase. The Gallery (formerly known as the Mezzanine Gallery) has been a somewhat hidden gem at the Met since opening in the 1970s. Really affordable, wonderful prints are selected by Laura who always has time to talk shop with artist, buyers, students, and scholars. Make it a must-see on your next visit to the Met. Best to make an appointment to be sure Laura is available.
In s2e25, hosts Ann Shafer and Tru Ludwig take an in-depth look at Jacques Callot, who is the first printmaker in Western art to record the atrocities of war. He heads up any list of artists using prints to spread news far and wide about societal ills through visual means. He created some 1,400 prints in his career (no paintings !) and made some of the most remarkable and smallest prints ever. This is a first half of a longer conversation. Stay tuned for part two.
In Platemark s3e21, host Ann Shafer talks with Pam Paulson, founder of Paulson Fontaine Press, Berkeley, California. After earning her MFA in painting from the San Francisco Art Institute in 1982 (she was a teaching assistant for Robert Colescott), Pam cut her teeth in printmaking at Crown Point Press in downtown San Francisco. There she worked with luminaries such as John Cage and Richard Diebenkorn. In 1996, she started publishing prints as Paulson Press. She and Renée Bott joined forces as Paulson Bott Press, and following Renée's retirement, Pam is joined by Rhea Fontaine precipitating the change in name to Paulson Fontaine Press. The Press works with a fabulous array of artists, specializing in intaglio printmaking.
Our conversation focuses on some of the intriguing projects Pam has worked on over the years, leading off with projects at Crown Point with artist John Cage during which the press was set on fire (on purpose).
Episode image: Alex Wein
In Platemark s3e20, host Ann Shafer talks with Kimberli Gant, curator of Modern and Contemporary Art at the Brooklyn Museum. While Kimberli’s specialty isn’t in prints per se, she is one of those unusual non-print curators who likes and appreciates prints and incorporates them into her projects.
Among many projects, her work on Jacob Lawrence and his time in Nigeria led to the exhibition, Black Orpheus: Jacob Lawrence and the Mbari Club, which traveled to the Chrysler Museum, the New Orleans Museum of Art, and the Toledo Museum of Art, and unlocks an area of Lawrence’s oeuvre that has been overlooked. If you missed the exhibition, Kimberli's beautiful catalogue is worth acquiring.
Platemark s2e24 concludes hosts Ann Shafer and Tru Ludwig’s conversation on reproductive prints. Once again, for clarity, a reproductive print is one in which an artist creates a design (a drawing, painting, sculpture) and another artist creates a print after that original design. These can be sanctioned by the first artist or not or they can occur long after the first artist‘s death. It is customary to acknowledge all the artists in the strip of lettering at the bottom of the print (called the address). This way credit is given where due. Over time, reproductive prints became quite formulaic and staid—wait until we get to the early-nineteenth century. When photography was developed in the 1830s, it wasn’t long before there was little need for the reproductive print. But without them, there is virtually no history of prints in the West.
In s3e19, host Ann Shafer talks with Maryanne Ellison Simmons, collector, printer, and owner of Wildwood Press in St. Louis, MO. Along with her husband, baseball hall-of-famer Ted Simmons, Maryanne collects contemporary prints. A large portion of the collection is now at the Saint Louis Art Museum where it was celebrated in an exhibition in 2022. Listeners may remember that Ann and Tru Ludwig traveled to St. Louis to see this exhibition and interview one of its curators, Elizabeth Wyckoff (s3e7), artist Tom Huck (s3e4 and s3e13), and Ted and Maryanne. Sadly, the audio file from the conversation with the Simmons was corrupt, so Ann circled back and interviewed Maryanne without Ted (sorry, Ted). But it gave them an opportunity to talk about not only the collection and the exhibition, but also Wildwood Press.
Episode image: Brian Cummings
In s3e18, host Ann Shafer talks with dealer Susan Teller, whose eponymous gallery operates out of the Mana Fine Arts facility in Jersey City, NJ. Susan specializes in American paintings and works on paper of the mid-twentieth century. She also works with multiple artists’ estates including Peggy Bacon, William Baziotes, Bernarda Bryson Shahn, Sue Fuller, Michael J. Gallagher, Peter Grippe, Fannie Hillsmith, Hugh Mesibov, Angelo Pinto, Anne Ryan, Louis Schanker, Karl Schrag, Judith Shahn, Ben Shahn, Mitchell Siporin, Harry Sternberg, Ansei Uchima, and Lynd Ward. Ann was eager to talk with Susan about managing estates and what are descendants supposed to do. How do you approach a pile of stuff in the attic by aunt so-and-so? And of course, Susan’s relationships with families of many of the women who worked at the New York Atelier 17 in the 1940s and 1950s was too intriguing for Ann to pass up.
Platemark s2e23 continues hosts Ann Shafer and Tru Ludwig’s conversation on reproductive prints. For clarity, a reproductive print is one in which an artist creates a design (a drawing, painting, sculpture) and another artist creates a print after that original design. These can be sanctioned by the first artist or not or they can occur long after the first artist‘s death. It is customary to acknowledge all the artists in the strip of lettering at the bottom of the print (called the address). This way credit is given where due. Over time, reproductive prints became quite formulaic and staid—wait until we get to the early 19th century. When photography was developed in the 1830s, it wasn’t long before there was little need for the reproductive print. But without them, there is no history of prints.
In s3e17, Platemark host Ann Shafer talks with print dealer Jeannot Barr, who organized the first (and many subsequent) New York Print Fair in 1984. They touch on pricing, buying at auction, fair organization, and a host of other business-of-art topics. They delve into the Ferdinand Roten Gallery (based in Baltimore) and his traveling, mini print fairs set up in various schools and universities in the second half of the twentieth century. They also talk about the Associated American Artists, whose tag line was Art in Every Home, as well as the proliferation of regional print collector’s clubs.
Episode image: Selfie by Ann Shafer with Jeannot Barr and Tru Ludwig, Satellite Print Fair, New York, October 2022.
In s3e16, Platemark host Ann Shafer talks with curator Hope Saska about CU's Sharkive, the archive of the print publisher Shark's Ink. Ann's former cataloguing self nerds out on how to manage a collection of hundreds of objects, some of which are related to the published edition. It's a lot to wrangle. CU currently has an exhibition on view drawn from the Sharkive (on view until July 2023), which is worth the visit to Boulder.
In s3e15, Platemark host Ann Shafer talks with printer Julia D’Amario, who has been the printer at the Jordan Schnitzer Printmaking Residency at the Sitka Center for Art and Ecology in Otis, OR, since 2002. Formerly she printed for Pace Prints in New York from 1989–2008. In between all that, since 2008 she has spent summers printing for Jim Dine in his Walla Walla, WA, studio. In fact, Dine lists Julia among his favorite printers—and he has worked with many, many printers across the world. If that weren’t enough, Julia is set to open her home shop to artists in the near future.
In this episode, Julia, whose specialty is intaglio prints, relates her early experience at the Robert Blackburn Printmaking Studio, where she met future Pace Prints colleague and Platemark guest Bill Hall. She tells us about favorite projects at Pace and Sitka, working with Jim Dine, and her love of prints and printmaking.
In Platemark s3e14, host Ann Shafer speaks with James Ehlers, professor and chair of the studio art department at Emporia State University in Emporia, Kansas. It turns out, Emporia State offers the only BFA in engraving arts in the United States. Platemark listeners will know Ann has a soft spot for intaglio prints with an abiding love of engraving due to her studies of Stanley William Hayter. With so few artists working in engraving these days, the chance to speak with the professor of that discipline at the only US college to offer it was too good to pass up.
In s3e12, Platemark host Ann Shafer speaks with Maureen Warren, curator of European and (North) American art at the Krannert Art Museum at the University of Illinois, Urbana-Champaign. For ten years Maureen has been studying, researching, and writing about prints in the Dutch Republic, which was the basis of her dissertation at Northwestern University. At long last, all that hard work has come to fruition in an exhibition and scholarly catalogue. Fake News & Lying Pictures: Political Prints in the Dutch Republic examines the visual strategies of Dutch printmakers and the ways they used images to promote political interests. The exhibition runs from August 25–December 17, 2022. The exhibition will travel to other venues: University Galleries, University of San Diego, February 10–May 12, 2023; and Smith College Museum of Art, September 15, 2023–January 7, 2024.
In s3e12, Platemark host Ann Shafer speaks with Maureen Warren, curator of European and (North) American art at the Krannert Art Museum at the University of Illinois, Urbana-Champaign. For ten years Maureen has been studying, researching, and writing about prints in the Dutch Republic, which was the basis of her dissertation at Northwestern University. At long last, all that hard work has come to fruition in an exhibition and scholarly catalogue. Fake News & Lying Pictures: Political Prints in the Dutch Republic examines the visual strategies of Dutch printmakers and the ways they used images to promote political interests. The exhibition runs from August 25–December 17, 2022. The exhibition will travel to other venues: University Galleries, University of San Diego, February 10–May 12, 2023; and Smith College Museum of Art, September 15, 2023–January 7, 2024.
In s3e11, Platemark host Ann Shafer talks with artist LaToya M. Hobbs whose commissioned installation will be on view as visitors enter the IFPDA Print Fair at the end of October 2022. The works will be front and center at the entrance and will no doubt garner lots of attention for LaToya. Speaking with LaToya was a distinct pleasure for Ann because the artist is based in Baltimore, is full-time faculty at the Maryland Institute College of Art, and recently had a monumental, five-part, carved wood piece on view at the Baltimore Museum of Art, which the museum subsequently purchased for its permanent collection.
LaToya’s work deals with figurative imagery that addresses the ideas of beauty, cultural identity, and womanhood as they relate to women of the African Diaspora. LaToya is a founding member of Black Women of Print, a collective whose vision is to make visible the narratives and works of Black women printmakers, past, present, and future. LaToya grew up in Little Rock, Arkansas, received her B.A. in painting from the University of Arkansas at Little Rock, and earned an M.F.A. in printmaking at Purdue University.
In s3e10 of Platemark, hosts Ann Shafer and Ben Levy talk with Julia Samuels, master printer and owner of Overpass Projects, Pawtucket, RI. Ann and Ben were thrilled to visit Overpass in person for the recording of this episode. It’s so great to see what guests are talking about and to be able to take photographs of the space, artists, and prints.
Julia creates her own work primarily in black-and-white linoleum cuts, but is, in fact, a natural colorist—It comes easily to her. She is on a mission to economize colors for artists she works with, and she often creates palettes for them to plan their projects from. She has created such palettes for artists working in both screenprint and etching—two very different techniques requiring different approaches to layering colors. Sounds complicated, and, for me, it is. See if you agree.
Julia and Overpass Projects are exhibiting at the Satellite Print Fair in New York, October 27–30, 2022. That fair is being held at Shop Studios, 528 West 39th Street, 3rd fl., which is just around the corner from the Jacob Javits Center, the site of the IFPDA Print Fair that is occurring at the same time.
In s3e9 of Platemark, host Ann Shafer talks with James Siena and Katia Santibañez. Both artists, who are married to each other, are painters and printmakers who split their time between New York City and Otis, MA. In the past few years they have collaborated on four reduction woodcuts with Shore Publishing. (An exhibition of the full sets of working proofs for these collaborations was recently on view at Shore Publishing's sister gallery, Cheymore Gallery.) Their work complements each other’s and their collaboration with May Shore is truly wonderful. Find out how they met and how much they love working with master printers like Shore, Felix Harlan, Theo Lotz, and Phil Sanders.
In s3e8, Ann Shafer talks with Dave Cloutier who recently opened up Center Arts and Studios in Baltimore. CAS offers classes, equipment, critiques, and studio spaces to second-career artists.
Dave has been a faculty member at the Maryland Institute College of Art for sixteen years. He earned his MFA from the LeRoy E. Hoffberger School of Painting in 2005, and has a BFA in painting and art therapy from the University of The Arts in Philadelphia (1991).
Prior to MICA, Dave taught in community arts throughout Baltimore for Clayworks and Towson University’s Community Arts program. Dave has taught adults and kids in community arts centers and in therapeutic after-school programs in and around Boston. Dave has worked with teens, adults, and older adults in psychiatric settings as an activities therapist and in direct patient care, continuing this work as a CNA in nursing facilities specializing in caring for residents with Alzheimer’s and dementia.
Dave has an active studio practice and recently opened his passion project, Center Arts and Studios, in Hampden, a neighborhood in Baltimore, MD.
Episode image of Dave Cloutier by Elizabeth English.
In s3e7 of Platemark series three, Ann Shafer and Tru Ludwig sit down with Elizabeth Wyckoff, Curator of Prints and Drawings at the Saint Louis Art Museum, to talk about the exhibition Catching the Moment: Contemporary Art from the Ted L. and Maryanne Ellison Simmons Collection, which is open until September 11, 2022.
The Simmons collection, recently acquired by the Saint Louis Art Museum, provided an opportunity to take a deep dive into three artists they collected in depth: Kiki Smith, Enrique Chagoya, and Tom Huck. The major through line is works that critique a broad range of social, political, and art historical concepts. Other artists in the exhibition include Jaune Quick-to-See Smith, Bruce Nauman, H.C. Westermann, Tony Fitzpatrick, and Kara Walker.
Elizabeth, like so many curators of prints and drawings, is responsible for works of art on paper from the 15th century through tomorrow, even though her dissertation focused on Dutch print publisher Jan Pietersz Berendrecht, who was active in Haarlem in the 1620s. Hear about living in Amsterdam while researching Berendrecht, working with the Simmons, and what her (fictitious) retirement gift will be.
Episode image of Elizabeth Wyckoff: Courtesy of the Saint Louis Art Museum.
Saint Louis Art Museum Print and Drawing Room link: https://www.slam.org/research/print-study-room/
In s3e7 of Platemark series three, Ann Shafer and Tru Ludwig sit down with Elizabeth Wyckoff, Curator of Prints and Drawings at the Saint Louis Art Museum, to talk about the exhibition Catching the Moment: Contemporary Art from the Ted L. and Maryanne Ellison Simmons Collection, which is open until September 11, 2022.
The Simmons collection, recently acquired by the Saint Louis Art Museum, provided an opportunity to take a deep dive into three artists they collected in depth: Kiki Smith, Enrique Chagoya, and Tom Huck. The major through line is works that critique a broad range of social, political, and art historical concepts. Other artists in the exhibition include Jaune Quick-to-See Smith, Bruce Nauman, H.C. Westermann, Tony Fitzpatrick, and Kara Walker.
Elizabeth, like so many curators of prints and drawings, is responsible for works of art on paper from the 15th century through tomorrow, even though her dissertation focused on Dutch print publisher Jan Pietersz Berendrecht, who was active in Haarlem in the 1620s. Hear about living in Amsterdam while researching Berendrecht, working with the Simmons, and what her (fictitious) retirement gift will be.
Episode image of Elizabeth Wyckoff: Courtesy of the Saint Louis Art Museum.
Saint Louis Art Museum Print and Drawing Room link: https://www.slam.org/research/print-study-room/
Bill Hall was one of the master printers at Pace Prints for nearly thirty years. He was in charge of the intaglio area and specializes in aquatint. His earliest years in New York were spent working at the legendary Robert Blackburn Printmaking Workshop. After his arrival at Pace Prints, his intaglio skills were honed under the tutelage of Aldo Crommelynck, the legendary printer of many of Picasso’s late prints. Bill is a soft-spoken, southern gentleman and an artist in his own right. Now retired from Pace, Bill and his wife, Sara, live in Asheville, NC. His work is represented by Momentum Gallery in Asheville.
In s3e5, Ann Shafer talks with fellow podcaster and print evangelist Miranda Metcalf, whose show, Hello, Print Friend, is the internet's most popular podcast about prints and printmaking.
In s3e4, Ann Shafer and Ben Levy talk with artist Tom Huck whose large-scale, multi-panel woodcuts skewer rural life in the American midwest in all its unabashed weirdness and glory.
In s3e3, Ann Shafer and Ben Levy talk with James Wehn, Van Vleck Curator of Prints, Drawings, and Photographs at the Chazen Museum of Art at the University of Wisconsin, Madison, about prints, museums, curatorial work, and Israel van Meckenem.
Episode photo by Eric Baillies
In s3e2, Ann Shafer and Ben Levy sit down with the three master printers at Tandem Press, Joe Freye, Jason Ruhl, and Patrick Smyczek.
In this first episode of series 3 (interviews with luminaries of the print ecosystem), Ann Shafer and Ben Levy sit down with Paula Panczenko, executive director of Tandem Press, and Russell Panczenko, retired director of the Chazen Museum of Art. Both entities are affiliated with the University of Wisconsin, Madison.
In s2e20, Ann Shafer and Tru Ludwig conclude their discussion of Rembrandt van Rijn, the man who made etching was it is today. In this third of three episodes on Rembrandt, they tackle his etchings of religious scenes. Rembrandt made a lot of them and they are intense. They are special because Rembrandt humanizes the people in them, which really hadn't happened before. It's almost as if viewers can find themselves in the scenes. Biblical stories are brought to life under Rembrandt sure hand.
After this episode, we are taking a summer hiatus. Platemark series two: A History of Prints will return in late summer. In the meantime, episodes from series three will be previewed. Series three features interviews with luminaries of the print ecosystem. Stay tuned for those.
In s2e19, Ann Shafer and Tru Ludwig continue talking about the best etcher ever, Rembrandt van Rijn. In this second of three episodes on Rembrandt, they tackle genre scenes (those would be scenes of everyday life) and portraits. Rembrandt is the consummate storyteller and in these etchings he gives us regular, everyday people like print dealers, cooks, beggars, and even rat catchers. His etchings are brimming with life. Remember, Rembrandt lives in Amsterdam, which is part of Holland, a country that had recently gained independence from Catholic Spain. These subjects are new territory for us.
In addition, Ann talks about a second female artist: Geertruydt Roghman.
In s2ep18, Ann Shafer and Tru Ludwig talk about one of the best etchers ever, Rembrandt van Rijn. In this first of three episodes on RvR, Tru sets the stage and takes us through some of Rembrandt's key landscape etchings, including the iconic The Three Trees. Remember, we really haven't seen anyone take up etching with this much success so far. Rembrandt sets the bar for and forever changes what we mean by autographic etching.
In s2ep17, Ann Shafer and Tru Ludwig talk about one of their favorite engravers of all time, Hendrick Goltzius. A Dutchman, Goltzius was preternaturally gifted with a burin and made glorious prints of all sorts. Ann's favorite is the Farnese Hercules, a large engraving showing two Dutchmen looking up at a giant sculpture of Hercules, which viewers see from behind. Quirky and wonderful, these prints are worth a deep dive.
In s2ep16, Ann Shafer and Tru Ludwig talk about the Protestant Reformation and the Catholic Counter Reformation that affected so much of the 16th century in Western Europe. The focus of the episode is Pieter Brueghel the Elder who developed a new vocabulary to talk about the lives of peasants, as well as lessons to live by. And don't forget those sins and sinners.
In s2ep15, Ann Shafer and Tru Ludwig continue talking about game-changer Martin Luther and the effects of his 95 theses against the Catholic Church, which brought about the Protestant Reformation in 1517. In this episode they talk about the biting criticism of politics in the church and the schism with the Lutherans/Protestants that is the subject of prints by Hans Holbein the younger and Lucas Cranach the elder.
In s2ep14, Ann Shafer and Tru Ludwig look at Martin Luther and the effects of his 95 theses against the Catholic Church. Once the only patron of the arts, the Church faced a reckoning when Martin Luther brought about the Protestant Reformation in 1517. In addition to getting rid of the intercessor (the church and its priests), Protestantism calls for no images to distract. What's an artist to do in these newly Protestant countries (Germany and Flanders for this episode's purposes)? One could turn to landscape, portraiture, still lifes, myths, and fantastical subjects. Or one could turn to biting criticism of the politics of the church and the schism with the Protestants.
In s2e13, Ann Shafer and Tru Ludwig talk about reproductive engravings and how they helped spread Italian art and style to Northern European countries. Italian Giorgio Ghisi worked for Antwerp publisher Hieronymous Cock and did much of the heavy lifting. The episode concludes with Federico Barocci and two of the loveliest etching and engravings yet discussed.
Thrilled to announce the Baltimore Fine Art Print Fair is scheduled for April 29-May 1, 2022. More than twenty presses, publishers, dealers, and galleries will be in town offering the latest in contemporary prints and editions. The fair takes place at 1100 Wicomico Street in Baltimore's Pigtown neighborhood. The gigantic 1915 warehouse boasts 44K plus square feet of space on its top floor and offers panoramic views of the city. A convenient parking garage is attached to the building (entrance on Ostend Street). ADA access is through the front door on Wicomico Street. Details and tickets are available at baltimoreprintfair.com.
In s2e12, Ann Shafer and Tru Ludwig discuss the titan of Venetian painting, Titian, who happened to also make prints. Plus Ann and Tru take a deep dive into the epic first book of anatomy, Vesalius' On the Fabric of the Human Body, 1543. It turns out Titian had a hand in some of the woodcut illustrations in it.
In s2e11, Tru Ludwig and Ann Shafer talk about chiaroscuro woodcuts before moving on to the Mannerist painter and printmaker Parmigianino. Coming off the High Renaissance and the Sack of Rome in 1527, artists were looking for ways to shake it up. Out goes the solid forms and placid emotions and in comes the twisting, off-kilter compositions and extremes in emotions. Parmigianino is the first to really take up etching in a meaningful way (it's been engraving until this point--remember, Dürer tried etching but hated it). Tru makes the case for Parmigianino as a crucial creator. Ann becomes a fan.
In this bonus episode, Ann Shafer talks to Tru Ludwig about being an artist and art historian, and how being a professor in both disciplines plays out. It's a fascinating confluence of ideas and passions in one person.
In s2e10, co-hosts Ann Shafer and Tru Ludwig continue talking about Italian printmaking in the 16th century focusing on MarcAntonio Raimondi, Agostino Veneziano, Giulio Romano, and our first female artist, Diana Scultori. They take a deep dive into MarcAntonio's Judgment of Paris (after a drawing by Raphael), from which Edouard Manet extracted the figural group for Déjuener sur l'herbe. Plus, the 1527 Sack of Rome changes everything.
In s2e9, co-hosts Ann Shafer and Tru Ludwig continue their conversation about early Italian printmaking with a strong focus on the engravings of Andrea Mantegna. They also talk about chiaroscuro woodcuts, always keeping the North within eyesight.
In s2e8, co-hosts Ann Shafer and Tru Ludwig talk about the early history of prints and books in Italy, comparing it to Northern Europe. Differences in style and materials are discussed using the example of Masaccio's The Holy Trinity with the Virgin and St. John and donors, 1425–27, the fresco painting in chapel in Santa Maria Novella, Florence, Italy, and the Ghent Altarpiece, Jan and Hubert van Eyck's Adoration of the Mystic Lamb, 1432, an oil and tempera on wood multi-paneled altarpiece in St. Bavo’s Cathedral, Ghent, Belgium. Circling back to prints, we also talk a lot about Antonio Pollaiuolo's engraving, the landmark Battle of the Ten Nude Men, c. 1490. Of course, Dürer pops back up, too.
In s2e7, co-hosts Ann Shafer and Tru Ludwig discuss intaglio printmaking techniques, which include engraving, etching, mezzotint, and drypoint. They also talk about aquatint and other methods of getting an image incised into a copper plate. Images related to the episode are at platemarkpodcast.com.
In s2e6, co-hosts Ann Shafer and Tru Ludwig discuss relief printmaking techniques, which include woodcuts and linoleum cuts. They also talk about reduction woodcuts, aka suicide woodcuts.
In s2e5, co-hosts Ann Shafer and Tru Ludwig talk about paper as a support and the ink that is transferred from a matrix. Without these two materials, prints wouldn't exist.
In s2e4, co-hosts Ann Shafer and Tru Ludwig finish talking about Albrecht Dürer. He had a remarkable career, and changed the perception and reception of prints in Europe at the beginning of the 16th century.
In this bonus episode, co-hosts Ann Shafer and Tru Ludwig talk about how they got into art in the first place. From early childhood encounters through college, the hosts reveal why they love art and believe wholeheartedly in its transformative power.
In s2e3, co-hosts Ann Shafer and Tru Ludwig finally start talking about an artist. While there are artists of note before Dürer--say Martin Schongauer--he really changes everything. From his monogram claiming authorship to marketing his works, Dürer is the man. So much so that Ann and Tru only get through half of his story. A second episode will continue Dürer's story.
In s2e2, co-hosts Ann Shafer and Tru Ludwig talk about Europe in the 15th century and the state of printmaking, the printing press, moveable type, and early woodcuts. This episode sets the stage for the rest of the story of the history of Western printmaking.
Platemark Series Two, History of Prints kicks off with Ann Shafer and co-host Tru Ludwig introducing the series. They talk about teaching the History of Prints (HoP) for the Maryland Institute College of Art (MICA) using the print collection at the Baltimore Museum of Art over the course of 15 years. They talk about how the class brought them together and about how transformative it was for hundreds of MICA's BFA students.
In the final episode in season one, Ann and Ben talk about the print ecosystem: collaborative printmaking, print publishing, galleries, art fairs, and the fabulous cast of characters that inhabit the print world.
Ann and Ben discuss the ballet that occurs in the printshop when the team is editioning a print. Everything is planned. Jigs are made. Everyone has their role. When it's running smoothly, it's sublime. Also, it's hard work.
Ann Shafer has a new podcast called The Curator's Choice in which she talks about one object (or set of set of objects) and why she likes it, how she would pitch it, and other behind-the-thinking stuff.
In s1e7, Ann and Ben finally turn to prints and printmaking, and evangelize about how wonderful prints are, why they are different and special, why it takes work to get over the hump of understanding technique to get to content. They discuss how technique can inform meaning, how the translation of an image from one surface to another only adds interest and conceptual rigor, and the ins and outs of multiplicity.
Editions are the topic of this bonus episode. Ann and Ben talk about the ins and outs of editions: definitions, numbering, exceptions, the publisher-artist relationship. It's definitely not simple.
In episode 106, Ann and Ben continue their conversation about the Western canon, the state of museums in the 21st century, and discuss breaking down the systems that are the foundation of the modern museum.
In this bonus episode, Ann and Ben talk about how they got into this art thing in the first place. Seems it helped to have artists in the family.
In s1e5, Ann and Ben talk about the Western art-historical canon and recent, important efforts to redefine it, to break it apart, to destroy it. How can/should museums embrace multiple voices and points of view? What happens to museum collections?
After the debut of the podcast Platemark, the most pressing listener question had to do with the positionality statement. That’s where Shafer and Levy introduce themselves by clarifying their gender, sexuality, and race (Shafer: cis-het white woman; Levy: cis-het white man). This bonus episode tackles the issue of positionality as well as the land acknowledgments (Shafer: Baltimore is on the land of the Piscataway Conoy people; Levy: Cleveland is on the ancestral land of the Erie people). There's a lot to unpack and it is uncomfortable. But that's the point.
In s1e4, Ann and Ben continue their conversation about value but turn toward artistic value rather than monetary value. Both Ann and Ben describe their own systems for evaluating a work of art. Ben’s system centers on reverse engineering a work and looking at the decisions made at each step. Ann’s system is a long and wide-ranging list of questions that get filed into emotional impact and visual impact. All of which is to say, there is no right or wrong way to approach a work of art.
In s1e3, Ann and Ben take a deep dive into value, beginning with market value. How is it established, who decides what the value of a work should be, how value is arrived at, and how it’s a totally subjective idea.
In s1e2, Ann is in the hotseat as Ben asks her about her beginnings as a curator from an internship at the Whitney Museum of American Art during college, to graduate school at Williams College, to the prints and drawings department at the National Gallery of Art, and to the prints, drawings, and photographs department at the Baltimore Museum of Art. Ann talks about how it happened, highlights along the way, and how much it meant to her. Interwoven is a love letter to the many students that passed through the BMA’s studyroom, the exhibitions that were most meaningful, and the objects she acquired for the BMA’s collection.
In series 1 episode 1, Ann and Ben talk about critiques and studio visits, focusing on a program they developed in partnership with the printmaking department at the Maryland Institute College of Art. At the start of the senior year, Ann and Ben held critiques with MICA printmakers as they embarked on their final theses, which culminate with end-of-the-year exhibitions. Following those initial visits to the seniors' studios, Ann and Ben welcomed students to the Baltimore Museum of Art’s print studyroom and pulled out objects from the permanent collection that they deemed germane to each artists’ work. These individual second visits enabled further conversation about the direction of the seniors’ thesis work and helped (we hoped) to energize them about new ideas and risks. Lastly, Ann and Ben returned to MICA near the end of the year to have a final look at the work produced. This was really for Ann and Ben to see how the work had developed and to evaluate who impactful we had been.
This episode also acts as Ben’s origin story since he is a studio art graduate of MICA’s printmaking department. He brought his technical know-how to the BMA’s department of prints, drawings, and photographs in an invaluable way.
In the first, short episode, Ann and Ben introduce listeners to Platemark Season One. Over eight episodes they discuss all manner of topics relating to museums and curators, critiques and studio visits, market value and conceptual value, redefining the Western art historical canon and decolonization, and prints and printmaking.
The main goal of the podcast is to demystify the role of the curator and the museum, and to sing the praises of prints and printmaking.